Australian trio Witchskull is eager to spread massive doom grooves worldwide with the sophomore release “Coven’s Will” which sees the band raising the bar to confidently deliver strong songwriting and skillful musicianship.
The album opener “Raven” is rightfully packed with loud groovy guitar riffs blending catchy rock nuances and hints of traditional doom despair which leads to the creation of a high impact track featuring also sensational vocals.
“Son Of The Snake” revolves around tight rhythmic segments featuring a super thick bass backbone that works harmoniously with the omnipresent heavy doom guitar riffs while the leads channel a somber melodic mood enhanced by the compelling vocal duet with Erica Stoltz and ultimately reach a spontaneous charismatic acme of the guitar solo.
“Demon Cage” is simply wild and a bit hellish with a serious dosage of heavy riffage and solo acrobatics that don’t need special effects or exaggerated speed to induce instant headbanging as a thunderous rhythmic section fiercely maintains a nightmarish groove.
The fascinating darkness of “Lord Of The Void” will prevail through a chunky ensemble of melodic hooks and blistering guitar riffs that surround the hypnotic lead guitar work while vocals follow the moody inflamed rhythm with exceptionally fervent delivery.
“The Empty Well” is the song that truly screams doom from beginning to end drawing inspiration from the darkest depths of metal with a taste for all things sinister and an impending armageddon as irresistible galloping guitar riffs nicely build a strong groove in the middle of dramatically slower monolithic guitar work and diabolical vocals.
The music journey of Witchskull is still at the early stages but “Coven’s Will” has a mature sound capable to channel the authentic vibes and raw power of classic doom metal.
Could something really cool emerge from the spectral swamps of Detroit? Yes, it’s the psychedelic turbo rock band Octopus who will surprise you with the trippy verve of the debut album “Supernatural Alliance”.
“The Center” certainly showcases strong ‘70s rock influences but doesn’t necessarily scream retro as guitars constantly craft good times grooves with acidic riffs mixed with essential organ melodic trippy galore resulting in one of those lovable dizziness inducing tune and in general the whole instrumentation sounds super tight shaping loads of refreshing catchy rhythmic dynamics.
The title track has a delicious fuzzy feeling mixed with enigmatic melodic textures, a surreal combination that aims to hypnotize the listeners, as guitars effortlessly shift from dramatic tonalities to full blown heavy & psychedelic riffing generating the right spacey mood with a slightly melancholic aura also enhanced by talented vocalist Masha’s intriguing soulful delivery.
“Slave And Master” pushes on that fuzz pedal and puts the classic organ passages in the spotlight while guitars & drums are very busy spacing out like in the middle of the desert and keeping an authentic rock groove with exquisite vintage vibes and vibrant riffs accompanied by spellbinding vocals.
The altered state of “The Unknown” particularly stands out for the darkened atmospheres and a slower enigmatic approach that favors a more generous dosage of psychedelia infused groovy dynamics skillfully embedded in every guitar riff and delicate melodic concoctions that suddenly emerge through steady rhythmic crunchiness carrying an overload of hallucinogenic experimental elements.
“Black Dynamite” can hit hard with the proper massive distorted rock guitar riffs and consequent raw energy but also offers tons of trippy rhythmic variations with spacey background organ layers and a slow burning approach especially enriched by the enthralling darkly psychedelic melodic licks of the guitar solo and the absolutely fierce & catchy rocker style vocal delivery.
You must take the time to discover the dazed & entertaining sonic realm of “Supernatural Alliance” as Octopus successfully deliver a highly energetic collection of songs that shine for the spontaneous psychedelic rock jam attitude.
Anarcho- punk band Antisect has not released new music for over thirty two years yet suddenly has returned to the music scene delivering the powerful new album “The Rising Of The Lights” proving to be a relevant band with renewed energy and ideas rather than just a nostalgic trip.
On “Spirit Level” there are hints of fury and unstoppable anger with opinionated screams and untamed borderline aggressive guitar riffs that maintain a gritty punk attitude even if the whole instrumentation showcases a more modern catchy sound with additional metal elements.
With bold straightforward metal grooves “Acolyte” seems to lose the old school punk drive except for the chaotic screams and also delivers scattered pleasant melodic phrases.
“Welcome To The New Dark Ages” can be extremely melancholic with minimalist contemplative acoustic melodies but is also ready to pick up speed and distortion with monolithic guitar riffing and fierce vocals surrounded by a rather ominous atmosphere.
“Black” stands out for the intense & catchy grooves built by powerful bass lines and crunchy guitar riffs following familiar energetic metal dynamics while vocals shift to baritone delivery matching the general gloomy mood.
“Scared To Die” feels like an almost apocalyptic soundtrack starting with somber atmospheric nuances that suddenly give way to a more aggressive guitar driven rhythm deeply fueled by controversial punk attitude.
Inspired by strong political views and a will to survive despite the inevitable demise of human race Antisect delivers the visionary album “The Rising Of The Lights” with vibrant unrestrained artistic freedom.
There was a time when Uncle Acid And The Deadbeats was still simply unknown and the very first music effort “Vol 1” was recorded on a low budget and pressed in small numbers. As the story goes, this album ended up acquiring a cult status and now songwriter Kevin Starrs has decided to re-release this charismatic D. I. Y. project finally mixed and mastered.
Maintaining its fashionable inner raw essence and rough recording style “Crystal spiders” introduces the vintage mixture of psychedelic and occult rock that characterizes Uncle Acid And The Deadbeats as acidic guitar riffs build a series of massive retro rock bluesy grooves that lead to a glorious spacey guitar solo.
“Lonely And Strange” feels particularly irresistible with a deliciously spooky organ intro swiftly followed by full blown ‘60s-‘70s dazed psychedelic energy enhanced by spacey melodic guitars and vocals that will lead to a simply tremendous neverending trippy guitar solo surrounded by a moody melancholy.
“Vampire Circus” stands out for the entertaining dizzy & creepy guitar riffing that sounds like music straight from the ‘70s, absolutely not watered-down, and a guitar solo that holds an unpolished raw trippy psychedelic power.
The exquisitely groovy “Wind Up Toys” might have hints of retro doom that will inevitably make you space out as addictive galloping guitar riffs and a simply catchy chorus build up strength culminating in a visionary psychedelic rock par excellence guitar solo.
Initially released in 2010 “Vol 1” used to be a mythical item, a mysterious work of music and now all Uncle Acid And The Deadbeats loyal fans have a chance to finally own it and gain insight on the early days of the band.
Iconic former Cathedral singer Lee Dorrian and ex-Electric Wizard/Ramesses bassisit/guitarist Tim Bagshaw have joined forces again in the band With The Dead to deliver the new album “Love From With The Dead”, an authentic doom metal opus that could become the perfect soundtrack for our dysfunctional world.
As the album opener “Isolation” begins with monolithic guitar riffs and desperate laments, it becomes clear that With The Dead have no intention of writing easy mellow hooks to satisfy a wide audience. Instead the main focus is the creation of a spontaneous work of heavy doom where guitars are characterized by a gritty depressing tone that sets a perennial dark mood even when psychedelic distorted and somehow more accessible melodies emerge from a claustrophobic hopeless abyss.
On “Egyptian Tomb” monumental bass lines and fuzzy guitars craft an arcane desolate atmosphere but there are some lovely melodic concoctions and borderline groovy guitar solos that still maintain a sheer adoration for absolute darkness but definitely balance the merciless negativity.
As a dismal march through a dark world of ruins “Cocaine Phantoms” revolves around astonishingly heavy guitar riffs supported by a massive rhythmic backbone while Lee Dorrian’s steady mournful voice and hypnotic guitar melodies generate a nightmarish aura.
The lengthy asphyxiating “CV1” closes the album like a powerful reminder that everything is lost forever as guitars acquire psychedelic/acidic textures mixed to lugubrious doom heaviness while the dissonant addition of experimental electro/drone elements simply enhances the extreme dreadful destiny of mankind.
Shaping a realm of hopelessness and despair as all that could go wrong just happened irreparably With The Dead deliver one of the heaviest collection of songs ever composed and “Love From With The Dead” is what uncompromised doom metal should sound like.