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Monte Luna – ‘Mind Control Broadcast’   Leave a comment

Out now, on Argonauta Records, ‘Mind Control Broadcast’ is the new 3 track EP, from Austin, Texas psychedelic sludge trio, Monte Luna.

Having been in lockdown together, they’ve utilised this time, to create new music, build stronger links with their fans and are back, with a new line-up.

Incorporating heavy, lead-based doom and vivid sludge into their music, conveyed through gigantic sound production and intuitive timing, ML count darkly experimental bands like Neurosis, The Melvins and Eyehategod amongst their inspirations. Building up, from a duo, to a trio, ‘MCB’ premiers the sounds of Danny Marscher (drums) and Garth Condit (bass).

The band have also launched an associated video, in collaboration with CVLT Nation, with a percentage of album sales going to ‘The Lost Well’, an Austin-based live music venue, to help keep it open.

The 3 tracks on ‘MCB’ are live early demos of the forthcoming album, expected in 2021/2022, dependent on Covid restrictions.

This emerging album focuses on the natural human response to life, aspects of mental health and the scope of the universe, whilst retaining the established Dungeons & Dragons theme.

Blackstar – Wooshing intro, onto a sonic blast of rhythmic riffs and drums. Vocals barely audible, in the background. A cacophonous noise envelops it. The timing’s spot on, but those vocals need to come forward. The sludge emphasis is clear. Very muddy. Pained sounds emit from the vocals, but they’re just drowned out, by the rest. Mainly a drum-led track, it could use a bit more melody. Vocals eventually showing themselves, just past the 6 minute, 3/4 in mark. Still, a blur of sound, though. Potentially Tinnitus inducing. Bass playing a prominent part, towards the end, even if it does sound almost out of tune and more vibration than sound.

Rust Goliath – Even more of a noise metal intro, with a ton of industrial sounds. Again, it’s very drum-centred, with background vocals, though they’re clearer, but not by much. Moving into a slightly more melodic arena, but it’s crushed by the overriding physicality. Strong doom sense and it’s definitely got the sludge part down. No excitement to be had here. Just a tinny migraine trigger. The agonised screams actually echo the artistic portrait of ‘The Scream’ and it’s all too believable.

Fear The Sun – A marginally quieter intro, with darker overtones and a bit more cymbal action. Rhythms not in question, but it morphs into another overbearing sound of crashing steel. Those screams in the background gradually come forward and are almost intolerable. Always slowly paced. Melody pretty much absent. I’m starting to want to scream along and not in a good way. It’s consistent rhythms are probably the only thing it’s got going for it. Endless aural torture. Finishing on an echo, mildly resembling that on Sabbath’s ‘Children Of The Grave’ finale.

Overall – Rhythmically sound, but melodically dead. In the strictest sense, ‘MCB’ nails it’s sludge intentions. Same can be said for its atmospheric doom. However, in every other respect, it’s how I imagine it feels to be beaten up, for hours on end, by a mud drenched drum kit, whilst being dragged down, into the mud, with sinking sand beneath. Consistently paced, but painfully, intolerably unlistenable.

2/10 **

For fans of Fleshpress


Posted August 4, 2020 by jennytate in Uncategorized

Savage Blood – ‘Downfall’   Leave a comment

Introducing ‘Downfall’, new 8 track album, from Savage Blood. It follows the last release, in 2016, their much revered debut EP.

Amongst their metal portfolio, so far, are a catalogue of support slots for such notably high-profile bands as Voivod, DORO, Exciter, Warrell Dane (RIP), Manilla Road (RIP Mark Shelton), Darkness, Burning Witches, Vulture, Dawn Of Disease, GURD Or Assassin.

‘Downfall’ showcases a return to form, with its modern melodic metal focus and old school drive. An independent release, due to Covid, ‘Downfall’ is available, in CD and 12 ” LP formats and 100 limited edition, see-through coloured vinyl copies, in green/red/yellow. Order from Savage Blood or from Bandcamp.

Downfall – Clear, ominous riff intro, accompanied by light, tinkling cymbal hits. Moving, into a Latin-esque riff and then breaking down, into forceful, industrial tinged heavy metal. Good heavy matching vocals. Grit soaked melody drives it forward, backed up by thunderous drums. Fun, fresh and intriguing, with slamming atmosphere. Imagine a blend of Disturbed, Rammstein, Soulforge, Kyrbgrinder, KLOGR and Queen and you’re close. Fabulous riffs own the track and everything turned up, to the max. Gloriously heavy and deliciously catchy. This is one concerted, cohesive effort, with powerful anthemic qualities. Like a heavy metal wall, slamming into your chest, with full, magnetic force.

Release The Beast – Right into the groove, with fast-paced, rhythmic sounds. High-calibre performance again. Lower vocal tones join the storm of drums and lightning electric riffs. Huge hooks galore. Impossibly strong delivery. A track for endless racetrack spins. Melodically and lyrically consistent, raining down on your head, with a rainstorm of drums. Full flow confidence, takes it to its magnificent end.

Savage Blood – Straight out slamming metal intro again and moving, with the ultimate flow, into a hard edged melody. Massively anthemic group vocals just make this a monster of a track. Relentlessly heavy, the melody’s where this is at. Just a humongously impacting track. Complete band synchronicity and this volcanic entity will not be sidelined, forgotten or ignored. The sheer force and depth of its metallic sound’s like a 10 ton truck, coming towards you, at merciless speed. Brilliant ending crescendo).

Violent Attack – Bang! It’s one of those intro’s). Loving that immediate impressively held vocal pitch. Painting pictures of its themes, straight away. Viciously heavy and unescapably affecting. Fantastically driven pace and rhythm. A destined band, if ever I heard one. Just a crushingly heavy weight sound, you never ever want to end. Beautiful melodies, throughout. This just pushes itself on, with immense, relentless force, till the end.

Queen On The Run – Wild attack of an intro, right into that now familiarly driven groove). Just the most lovably metallic sounds you’ll hear. Such a fulsome track, filled with equal quality contributions and all the time, pushed along, by that indescribably powerful, unstoppable force. Not a single thing out of place. Manna from the Gods of metal. Hugely rhythmic and so, so melodic, all the way. You’ll be begging for that metal juggernaut to just run you over. Power, x 1000.

We Sweat Blood – Electrified riff opening. Battle hymn drumming following. Instantly catchy melody. Uplifting doesn’t even begin to cut it. The whole track soars skywards, with metal victory. The atmosphere within this is just above and beyond. Enthralling riff solo, towards the end and tribal band vocals shout out the message of the title – highly plausible, given this blood, sweat and tears delivery.

Die In Spirit – Fast-paced riff intro, with equally fast drums following. Instantly, a metal pinball machine sound envelops you, at high speed. Just so entrancing. Vocals climbing higher, supported by the wall-like backing vocals. Astounding tones, tackled with precision professionalism. Inexplicably catchy and addictive. Again, absolute note perfect. Gathering pace, speeding on, with the most gorgeous melody. A highly invigorating track, stacked with atmosphere. Ending pointedly and definitively.

Guardian Angel – Gentle acoustic riffs open, deceptively, just before the metallic sound grows and owns it again). A real groove to this, with its beautiful lyrics and melody. Light, within heaviness reigns; no easy feat to nail. Just a hugely affecting, full volume, full-bodied sound, made to be relatable and accessible to all. An outstanding display of catch all, magically metallic sounds.

Overall – As almost impossible as it is to do true justice to an album as incredible as this, to say that ‘Downfall’ hits home, heavily, is a massive understatement. So it’s probably more accurate to say that it crashed into me, like a thunderbolt, from the blue. ‘Downfall’ is one of those increasingly rare albums, which hit you, with such colossal impact, that it defies verbal description. ‘Downfall’ doesn’t just stand out from the crowd. It shines and gleams, like the only diamond on the pebble strewn beach.

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

For fans of Soulforge, Kyrbgrinder, KLOGR, Queen, Disturbed, Rammstein, Manowar.

Posted August 2, 2020 by jennytate in Uncategorized

Tony Wright – ’17:17′   Leave a comment

Following many years experience of participating in original rock and blues bands, both performing and composing, Tony Wright has now branched out as a solo artist. Taking the lessons learned from treading that well worn path, including the standard album, tour cycle, he’s now poured his energies into his debut EP, ’17:17′. Newly launched, the EP includes shorter, ‘radio friendly’ versions of some of the tracks featured on his forthcoming album.

Your Champion – Delicious melting blues riff intro! Straight into that classy vibe. Vocals just a little too sharp for that sound. Drums well ingrained in the feel, though. It’s a real night time driving song, with velveteen tones woven, throughout. Well structured rhythms, though the volume fades slightly too much, slightly too early. Capable tones, if a bit incongruent for this style of track.

Heavy As Fuck – Drum beats open, onto another powerful blues riff. Vocals unhesitant, certainly passionate and unfalteringly rocky, but still, they’re a tad too metallic for such a bluesy track. No quarrel with the melodic components at all and it’s tangy and zingy enough to keep that intrigue going. Just a notable degree of genre confusion and incongruence, lyrically and stylistically. A better ending, in audio consistency terms. Just fails to gel together, vocally. Also, not a radio edit, in titular or lyrical respects. Still, it’s an undeniably decent song, in and of itself.

Slow Train Blues – Stronger drums introing and the rhythm’s instantly catchy. A great chugging beat and plausible conviction in the lyrics. Here, it moves notably upwards, in a very Clapton-esque, slow hand way. You’ve got to love those sexy riffs and if you don’t, check your pulse now. To say this one well and truly hits the mark is an understatement and the power just screams out of it. Here’s how to make a blues guitar sing. Just want this one to last longer.

Swing Tragic – Cymbal hits intro. It gets a little funky, now, with a taste of mystery and a carefully cultivated motion, from tone to tone. Again, a lot of obvious passion in here and it starts to get just a little 90’s Brit rock, in places, but never loses that palpable blues swing. Well hit vocal notes, well supported by that engaging blues riff phenomenon. Catchy lines and cleverly placed bass. Actually picking up the passion, even more, as it moves towards its end. Just a little lyrically repetitive, at the end, with a slight over proliferation of screams, but it’s not shy and it doesn’t hold back.

Overall – One thing ’17:17′ certainly isn’t short of is volume and the same can be said for expression. So the vocals don’t always match up with the accompaniments, given the bluesy angle, but they do hit the notes well and the enthusiasm’s evident. Its strongest aspect is the riffs, which deliver, every time. It’s definitely got the blues feel down. Vocally, it just needs to chime a bit more congruently with that sound. Generally, a powerful listen.

8/10 ********

For fans of Eric Clapton, Cream, Paul Weller, The Jon Spencer Blues Explosion, Uzziel, Kikamora, Sade, The Virginmarys, Smoking Martha, Mothers Of The Land.–17–radio–edit-EP/1512330521


Posted August 1, 2020 by jennytate in Uncategorized

South Of Salem – ‘Cold Day In Hell’   Leave a comment

After 10 years dedicated to projects, playing support for Iced Earth, The Damned, Wednesday 13 and The Birthday Massacre, hard rockers South Of Salem now present their new music video, ‘Cold Day In Hell’.

The themes of ‘CDIH’ revolve around the cold realities of the coercive control and manipulation inherent in emotional and psychological abuse, inflicted by the closest people to us and the damage it does to the victim.

‘CDIH’ symbolises and summarises the issues highlighted within the upcoming album, ‘The Sinner Takes It All’.

Both the track and the album have been in preparation for release since the beginning of the year, with a sold-out Bournemouth show, but as they were scuppered by Covid Lockdown, they’ve pushed on with the material’s launch, at the first opportunity.

Cold Day In Hell – Right in there, with a gorgeous, rocky riff intro! Total vocal conviction, from the start. Great aural portrait of the emotional incongruence of the abuse the track deals with. Keeping a powerful melodic front, the whole time, so plainly performed. Always, gritty and catchy, a guaranteed hit. Everything matches up here, in complete flow and natural synchronicity, from the tuneful hooks, to the dark, shadowy visual representations, hiding in broad daylight. Perfectly produced. Loving the twiddly paradiddles, 3/4 in. A great reveal of real, plausibly delivered issues, in a hardened, rocky shell. Fabulous definitive ending.

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

Pre-order ‘TSTIA’ here:

Posted July 31, 2020 by jennytate in Uncategorized

Austin Gold – ‘Here To Stay’   Leave a comment

Hard rock quartet Austin Gold present their newly released single and video, ‘Here To Stay’. A track from their self-titled, also recently released mini album, it’s out on Jig-Saw Music.

The video features their performance on Ramblin’ Man Fair’s main stage, in 2019. Shot by Paul England. Edited by TMR.

Proceeding 2 successful studio productions and tours, with GUN and King King, AG are fast accruing a solid live reputation, with a powerful vat of inspirations, resulting in an exceptional sound. Combining heaviness with genteel reflections, impacting evocations and catchy sounds, AG are proving an increasingly, intoxicatingly popular band, with sold-out, international venues to their name.

Production of their 3rd album is already underway.

Here To Stay – Gritty vocals open, closely followed by powerful riffs. That classic bent’s definitely there, from the start. Great melodies. Well-placed footage of live metal solidarity and a fabulous, rocky drum roll, yielding to more hooky riffs. Ending a little abruptly. The intro’s a little rough, in terms of production, but that’s well and truly compensated for, in the rest. Even if the vocals do sometimes appear to be overdubbed. Undeniably catchy and bound to prove a continuing hit.

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

For fans of Devilfire, Daniel Trigger, Matt Mitchell And The Coldhearts, Bon Jovi, Live, Nickelback, Stiltskin.

Official Video:


Posted July 30, 2020 by jennytate in Uncategorized

Electric Vengeance – ‘Angel Of Dirt’   Leave a comment

The Texan trio return, with their new debut video, ‘Angel Of Dirt’, featured on their ‘Stories Of Greed, Sex & Murder’ EP, to continue their screaming thrash attack, aided and abetted by new bassist Gunther. Spurred on, by their ever expanding army of fans, aka the Street Metal Attack.
Founded back in 2007, they bring an evil, coruscating blend of heavy metal, punk and thrash, with all the swagger, to go with it. Enter the world of Electric Vengeance.

Angel Of Dirt – Opening with a classic mosh riff and aptly aggressive vocals, keeping that raw edge, always present in EV’s tracks. Great deep, thrumming bass. Scenes of live, outdoor mosh pits, actively defying the ‘no moshing’ signs, in truly metal nonconformist style and general metallic chaos. Very Slayer-esque chorus, quite notably echoic of ‘Seasons In The Abyss’. Well structured, with well-controlled rhythms and pacing. Pauses always as dramatic as a song of this nature warrants. Getting more melodic, as it continues. Solid drum hits ending. Characteristically classy, high-quality and drenched in EV’s trademark atmosphere.

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

For fans of Slayer, Testament, Exodus, Anthrax.

Posted July 29, 2020 by jennytate in Uncategorized

Fore – ‘Fore – Punk’s Not Dead’   Leave a comment

Out now, via Smoke & Mirrors Productions, punk band Fore (ex-Kreator and Venom Inc, Massacre, The Absence, Old James, Skull Fist members) have released 2 new tracks, on Bandcamp, entitled ‘Song For A Friend’ and ‘Pet’.

These 2 new tracks follow ‘What’s Right For You’ and ‘Today We Rise (No Tomorrow)’.

Their debut self titled album is already in production, as an independent creation.

Pet – Introing with a couple of rapid drumstick clicks and straight into a classic speed metal, punk flavoured refrain. Very Offspring-esque. Just a barrel of riff-centric fun. Brief, but lively, ending on an invigorating power scream).

Song For A Friend – Intriguing deep male voice opens, with the word ‘diablo’. Then right into another fun-filled, melodically driven track. Again, it’s very Offspring-esque and just spells fun, loud and clear. An even shorter, but certainly no less exhilarating track.

Overall – Both equally alive and upbeat, these are 2 tracks of guaranteed high-spirited fun.

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

For fans of The Offspring, Green Day, Powervice, White Wizzard.

Posted July 28, 2020 by jennytate in Uncategorized

Chasing Ghosts – ‘Bring Me Suffering’   Leave a comment

Now available, darker than ever, ‘Bring Me Suffering’ is the new release from UK dark melodic metal band Chasing Ghosts. Both the EP and the title track, ‘BMS’ combines and comprises more of the most otherworldly, solemn sounds, recognisable from their 2018 debut album.

An associated single and video already launched, packed with gloomy depths, piteous tones and an aural grief cycle, looking ahead, to more hopeful futures. The visual portrait is shown within the video. Created and crafted to incite the deepest, most visceral feelings, ‘BMS’ is a profound and complex listen. The essence, palpable, in the sound.

Formed in 2015, their debut EP, in 2016, featured ‘Fallen From Grace’, a track recorded by Tim Morris (Enter Shikari), shown in their debut video, which featured Pixie Le Knot (contortionist/actress, ‘Game Of Thrones’). ‘The Devil Inside’ also featured. It was premiered on Amp’d TV, hosted by Kerrang’s Johnny Doom.

2018’s ‘These Hollow Gods’ album was highly esteemed, throughout the metal media, including Kerrang, Metal Hammer, Total Rock, Classic Rock, Fireworks, Powerplay, Rock Hard, Rock Tribune, Sweden Rock etc. It launched via Denmark’s premier rock and metal label, Mighty Music.

CG have played festivals, including Copenhagen’s Nocturne Fest, where they played alongside ex-Catatonia bands Abyssic and October Tide and headlined, globally, with plans to resume live shows, ASAP.

‘BMS’ was mixed and mastered by Jaime Gomez Arellano (Myrkur, Paradise Lost, Ghost). Accessible via download and stream, through all main platforms.

A Darker Place – Very operatic intro, poignant violins, soon joined by haunting riffs and gothic vocals. A striking duet of male and female voices, folding into the riffs, leaving shadows of tragedy and deep emotions. Very naturally performed. Delivered as waves of emotion, as the vocals fade in and out of the melodies. Ending on a solemn sound, enshrined in the voices.

Bring Me Suffering – Coming in carefully, on an orchestral sound, combined with riffs, growing heavier and gloomier. Dark vocals, resonant of Nick Cave, at his darkest, interspersed with similarly tragic feminine vocals. An easily catchy melody, carrying strands of misery within it. Growing larger and then melting away, yielding to deeply sad instrumentals, those vocals form a vehicle for palpable depths of emotion, as they wane and rise, like the ebb and flow of tides. Quite powerful accompaniments form the backdrop and the ending.

Until The End – Pointed sadness opens, with melting riffs and even darker, deeper, Cave-esque vocals and bass. Well held notes. A very fluid track, similar to the last, with a clearer physical edge. Strategically placed piano sections give way to powerful, booming drums, but still remain, in the background. Light feminine backing vocals, only just audible, join, for parts of the track, till the manly tones take over again. Instrumentally, very poignant, once more, building, to a strong, orchestral ending.

Overall – ‘BMS’ really strikingly epitomises its title. 3 tracks of openly painful, melancholic emotions, laid bare. Achieving its aim, in taking you there and opening up the reality for you, it’s certainly a very visceral EP. Flawless production and sound values, high-calibre performance, ‘BMS’ may not be uplifting or upbeat, but it does transport you right into its world, without doubt.

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

For fans of Evanescence, Lacuna Coil, Nightwish, Within Temptation, Epica, Nick Cave And The Bad Seeds, Wintereve, Mostly Autumn.

Official ‘BMS’ Video:

Posted July 27, 2020 by jennytate in Uncategorized

Thirteen Stars – ‘Keep Calm And Carry On’   Leave a comment

Released on 26th June 2020, on RPM Records, ‘Keep Calm And Carry On’ is the next instalment from Thirteen Stars; a new fan featured video, for the single. It follows their highly esteemed album, ‘Finest Ramshackle Jam’.

The purpose of the track is to provide a hopeful means of motivation and inspiration, in these uniquely worrying times. Designed for listeners to interpret in their own ways and attach their own meanings to it, ‘KCACO’ is hoped to provide a branch of empathic humanity and gentle acceptance of current realities.

The track made number 1 of Classic Rock Magazine’s ‘Tracks Of The Week’, Great Music Stories’ Album and Band Of The Month, was featured by Planet Rock Magazine and Radio and was also highly rated in Fireworks and Powerplay Magazines etc. The band appeared at Wintersend Festival too.

Keep Calm And Carry On – Classic rock intro, ballad-like style, shot through with Thirteen Stars’ trademark warmth and charm. Instant catchy hopefulness and revealing honesty in those lyrics. Well constructed track, accessibly paced, with steady rhythms and consistent sound quality. Brief, but memorable and still flaunting those Quireboys/Bon Jovi-esque vocals). Laid-back melody, with an inviting self assuredness. Clear personal ‘singing just for you’ visuals. Well-placed stripped back imagery, emphasising audio focus. Ultimately, the cosiness inherent in the band’s signature sound is still very much present.

8/10 ********

For fans of The Quireboys, Bon Jovi, The Black Crowes, Black Stone Cherry, Uriah Heap, Black Country Communion, Boston, Free, Bad Company.

‘KCACO’ can be purchased at:

Official Video:

Posted July 25, 2020 by jennytate in Uncategorized

King Corpse – ‘Sacred Crimson’   Leave a comment

Self released, in April 2020, ‘Sacred Crimson’ is the latest EP from King Corpse. Offering 8 tracks, 5 new and 3 remastered, this new production is the sound of KC expanding, into other metal genres, outside of their previous stoner/doom focus.

Founded in 2015, in the Black Country, the trio began as a very Sabbath-esque band, playing dark, doom-soaked metal, in ‘The Kcrypt’, as their practice space is known.

After a change of drummer, local gigs began in Birmingham and the Black Country. These focused on emulating the sounds of the likes of Sabbath, Witchfinder General, Crowbar and Down. Their last self-titled EP was well received, followed by support gigs for Conan and Monolord and more.

Returning to the studio, in 2019, production of ‘SC’ commenced. Recorded by bassist Jack Cradock and produced by Chris Wilson, at Stourbridge Studios.

Still very Sab-esque, with entrancing profundity and mystique, combined with corrosive rhythms, this 8 track wonder reveals great metallic escapism.

Exhumation – Gradual, deep, doom riff intro. Quite plucky fretwork, with atmospheric surroundings. Slightly tinny sound, but notably resonant of Electric Wizard. Gritty vocals, passionate, if a little off key. Well constructed rhythms. Very roary. A bit flat, but certainly has the doom sound down well.

Drowning – Slightly ominous, tight riffs open. Typically doomy beats and slow pace. Again, it’s a tad vocally flat, but with more melody and a lot of passion. Almost leaning towards extreme vocals. Drumming well timed, but still a little tinny. Lifting the tone, marginally, but the doom pace persists. Slowing down, to a crawl, it’s palpably running out of steam. Losing melody, as it fades out, on a sustained grungy tone.

Climb My Bones – Pleasant, ambient guitar riffs intro, gently. Breaking down, into a fairly A.I.C.-esque sound. The mood’s accessibly conveyed. Lifting things, slightly, but not for long. A mournful, depressive melody enters, with pained screams in the background. The ensuing riffs do compensate, though, bringing the mood up, a bit. Extreme roars follow. A slight vocal harmony adds to the A.I.C. effect, even if it’s flatter than expected. A noticeably Sab-esque, ‘Symptom Of The Universe’ riff comes next. Introing a mysterious element now, the sound becomes fluid, melting into itself. Stepping up the melody, injecting more omen, climbing up and down the scales. Fading into the distance.

S4–Lazar – A very distorted, robotic intro, with strong sci-fi aspects. Cacophonous sound effects litter the track. A blur of sound eventually yields to a gradually emerging A.I.C.-esque melody. Gathering pace, releasing an agonised, Cobain-esque scream. Echoing a combo of ‘Territorial Pissings’ and ‘Something In The Way’. Just an incensed, insane rage, surrounded by consistent doom accompaniments. Some light protrudes, through the gentle cymbal hits and lighter riffs. Ending on a slow set of riffs.

Sons Of Mourning – Bleeding through the previous track, once more, echoing a potent combo of Sab and A.I.C. A very strong stoner essence. Aptly mournful group vocals. Something slightly more modern about aspects of this track, in places. The bestial roars and screams bring it to an end.

The Count – Faster paced number, a bit more breathy. Echoes of Down and Kyuss infiltrate this, but still without losing that essential classic Sab essence. Lots more cymbal involvement. Channelling early Ozzy in there. Just a typical doom rhythm, with more riff melody creeping in, here and there. Staying slow and steady, for a while, before erupting into a clear ‘Hand Of Doom’-esque refrain. Whilst it’s an admirable tribute, a lot more originality’s called for here.

Sleepless – Very much a bass led intro, quickly followed by heavy cymbal action. Dread, nightmarish lyrics, raging through the track. A strong sense of omen invades this, growing more mysterious, throughout. Quite a samey track. Fading out, casually.

Swamp Thing – Deep, slow, down tuned melodies intro. The rhythm’s well controlled. Fairly catchy pace. Now, incorporating some more interesting riffage. Slowing down, further, into a very Iron Monkey-esque sound. Finally, lifting up the melody, with a very slight country blues twang. Ending on a gently played acoustic chord.

Overall – The main advantage ‘SC’ has going for it is it’s consistent, unmistakable doom sound. However, in terms of quality and originality, it’s distinctly below average. Whilst it’s homage to Sab et al is admirable, it goes too far in replicating classics and generally, fails, on an inventive level. Too samey and drudgery sounding, but the drive and motivation behind it will get it far.

4/10 ****

For fans of Black Sabbath, A.I.C., Down, Kyuss, Electric Wizard, Witchcraft, Iron Monkey, Orange Goblin, Taint.

Posted July 24, 2020 by jennytate in Uncategorized