Tag Archives: USA

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Mechanical Vampires

I’m semi-proud of this post, as I feel like I’m near the very front of the line for a group on the cusp of their emergence into the wider world of underground music. This is about as new and exciting as I have possibly ever gotten to a write-up of a group I have had next to zero interaction with previously, bar a chance encounter on Instagram. Like my namesake suggests, I do my homework and have laid in wait ever since. Seriously, the name isn’t just for show ladies and gents. It’s a lifestyle. If you interact with me over social media, even if you work on a follow-for-follow mentality, I do pay attention. Anyway, I digress. New Jersey’s Mechanical Vampires, after a promising ambient-industrial etched teaser known only as The Lynchpin and what seems like months of masterminding since early this year, finally unveiled their first full length song in Gemini and I sit here only 24 hours or so later, telling you why you should be excited by this enthralling new duo in the doorway of electro-industrial. If the minute of freezing cold keys against harsh distortion and air-tight percussion in The Lynchpin didn’t whet your appetite, then Gemini is by far the entrée you should be sinking your teeth into, literally. Obviously it fleshes out the icy atmosphere to a greater dimension, being nearly three minutes longer than The Lynchpin, but there’s a contagious pop undertone that partners so well with the thundering beats and muted abrasion from the guitar too. Sawtooth synth stabs enter like footsteps through that aforementioned doorway before bursting into life from dense percussion, echoing strong enough to hit straight through you, soft arpeggios to give some frostbite to the ambience and bass that rumbles the pit of your stomach. A male voice of reassurance cuts through the soundscape, but suits this colder, darker electronic manifestation perfectly, truly doing the scale of this track justice as gigantic as it becomes. There’s something about his spoken demeanour that is as soothing as it is inspiring, bringing a mesmerising human warmth to a mostly frozen atmosphere. And when it comes to that chorus, it glows brightly enough to bask in. Adding that vocal hook into the mix also, is just one more reason for Gemini to seep deep into your skin. The effect only becomes greater with each listen until it reaches maximum infatuation point. You could make a lazy comparison and claim that Mechanical Vampires are a more industrial-sounding PVRIS, but whilst PVRIS resemble an electronic-tainted Paramore, Mechanical Vampires already breach atmospheric and emotional depths far greater than they realise on the strength on a single song. Gemini is a stunning composition, a beautifully produced electronic master stroke that delicately reaches beyond the barriers of both industrial and pop music and seduces any onlookers with its alluring gaze. When is more on the way?

Despite being developed over the course of the year, Mechanical Vampires is still a project in its infancy, so they need all the support they can get. Gemini can be bought from CDBaby for a hardly change bothering sum, or they are generously giving it away for free from here at the exchange of sharing the song, which you should definitely be doing anyway.

Go send some love in their direction:

https://www.facebook.com/mechanicalvampires?fref=ts
https://twitter.com/MechVamps

And if you are feeling especially generous, why not consider sending some love in my direction too? You don’t have to, entirely optional:

https://www.facebook.com/IAmTheSoundshark
https://twitter.com/The_Soundshark

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bIg toBacCo CoMpaNY – D.B.

If this name looks familiar to you already, then that may be because I have written about these fine gentlemen recently in an article published generally covering what they do and what you can expect from them. That said, my musings on them sounding like a movie monster orgy, with an attitude reflective of a mischievous schoolchild may have to take a slight run back. Things are getting a little serious. Not too serious, but serious enough to warrant a statement of intent. Their debut album IS in existence, currently being pieced together as we speak and this is the second song to be taken from it, kindly extended to me as a form of informal partnership between myself and the band. They make the music, I write about it essentially. But whilst intentions are more serious, that’s not the only thing that sounds more serious here. D.B., abbreviated for Dick But showcases a more melodic side of the band we’ve yet to hear from what material of theirs floats around the internet. The beginning starts out kind of recalling the mellower, Middle Eastern-infused System Of A Down moments, the first guitar initially igniting a ominous spark, right before the harmony between the two guitars and chugging of bass almost ushers a sombre shadow over proceedings. The sound is far more emotionally attentive, but you can feel that it can only build-up to something bigger. A guitar whispers ‘Time’s up,’ with its last breath and the heavy artillery explodes in your eardrums. Piercing screams and some incredibly brutal growls fight for vocal control while what can only be described as the musical equivalent of being crushed into dust by the pyramids of Egypt bears down on what remains of your nerves. It’s savage, but utterly enjoyable. Then an impressive clean third voice emerges from the ruins, impressive so for writhing free from the previous throat torture, as if in prayer for mercy from the onslaught. Obviously denied. The quiet-loud dynamic is vicious, going from concentrated barbaric bursts of metal, to slightly more touching, contemplative melodies with a hint of deviance at its heart. The sum of both parts makes for a terrific ride nonetheless. Playing out with those melodies does make for a very satisfying conclusion too, ending an eventful four minutes. This band continues to impress me I must say, a maturation of the music previous to their release perhaps, but without compromising on their experimental piledriver of a metal monster. A new song release every month looks to be a calendar date worth saving right now.

Album releases don’t get by without money unfortunately, so these gentlemen need your love and support to make its inception as big as it possibly can be by backing their Kickstarter campaign. In return, you’ll get access to all the songs as soon as they’re available, and you can be credited on the album as making it happen cap’n. That certainly would give me a warm fuzzy feeling inside. So what are you waiting for?

If you haven’t already, go tell them if I’m right or not:

https://www.facebook.com/bIgtoBacCocoMpaNY?fref=ts

And if you would like to tell me if I’m right or not, or whatever:

https://www.facebook.com/IAmTheSoundshark
https://twitter.com/The_Soundshark

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The No-Nation Orchestra

It’s always exciting for me to gets my hands on something different instead of alternating between rock and electronic the entire time, as much as I do love writing about them both. I haven’t really gotten stuck in with more exotic flavours and soundscapes since starting the blog and that’s down to me settling into a nest of complacent comfort, and not spreading my musical wings as far as I could. Don’t get me wrong, I adore jazz and world music. I had the express pleasure of DJing an evening of jazz once. A local festival to me happens to be called Rhythms of The World and both the times I’ve been in attendance have been tremendous fun. Just my expeditions and forays into the gargantuan territory of world music have been limited and I’d be unsure how and where to start. I’ve given some exposure to culturally diverse musicians beforehand, Orange Tulip Conspiracy, International Diamond Thieves, Golem! and Hallouminati to name a few but that area has been lacking in company. So hopefully this collective I’m about to have the pleasure of reviewing will be the start of a more frequent genre of music and the start of that aforementioned expedition. For today, we focus upon The No-Nation Orchestra, an experiment put together by many Salt Lake City, Utah-based musicians, the union of which has crafted two EPs thus far of Latin-spiked, afrobeat-infused progressive jazz rhythms. As you’d expect, the combination of these elements make for an intoxicating feel-good wave of boisterous brass, intricate percussion, occasionally jerky yet funky guitar string swiping, all while adding a set of soulful vocal enchantments, with a surprisingly deep moral compass to them. The Coil EP released in November last year, houses the almost ironically sunshine-soaked conga of Past Shadows, a warning served to the hardships of war expressed from a menagerie of percussion driving funk-based jazz. What I enjoy most is the baton passing between each instrument section, switching from the glowing guitar notes and bass groove, to the decidedly shrill male and warming female harmonies, to the empathic brass greeting, the wall of beats and texture behind it maintaining that exotic zest that these musicians clearly are thriving upon. While there are words to ponder and reflect over, Past Shadows, with the help of an irrepressible Latin charm, lives its four and a half minute running time as one of the most sophisticated party compositions I’ve encountered in some time. Even nearing its climax, it doesn’t lose its composure, keeping the tempo steady but mellowing in tone ever so slightly enough to finish on a satisfying high. The collective of The No-Nation Orchestra is a collaboration, but there’s a chemistry here that defies meeting every year or so, almost woven by the threads of fate themselves. Suave but flamboyant in their mannerisms, their recordings invite political delegates from all over the world for a poolside barbecue and leaves all the party accessories out. Mature in intention and execution, but an utter delight of an experience to become part of.

The Coil EP and the More More More EP from 2011 are both available from the group’s Bandcamp page in digital or vinyl quality, both for a very reasonable sum. More More More can also be bought from most respectable music retailers in digital format. Go buy their music because it really is joyous listening.

Go show them some support because their social media numbers make me sad:

https://www.facebook.com/nonationorchestra?fref=ts

And if you would like to support me to make me less sad too, then be my guest:

https://www.facebook.com/IAmTheSoundshark
https://twitter.com/The_Soundshark

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bIg toBacCo CoMpaNY

There’s an unwritten rule you’re told from a young age but seldom expected to abide by. After all, free will is a marvellous gift and is certifiably one of the things that defines us as living organisms. Never judge a book by its cover. Perhaps a little too metaphorical for the context of this website, but it certainly taught me a lesson. A trend that seems to have emerged, especially within the indie community, is to take an average, everyday phrase and build a superb band identity around it. Fat White Family or The Neighbourhood for example, being perhaps two well-known and excellent cases for this observation. So hopefully I can be forgiven for assuming that on first glance, this could have been another to add to this trend. I honestly went in, expecting to hear a killer indie band. Boy was I surprised. Big Tobacco Company, though stylised as bIg toBacCo CoMpaNY, as opposed to being another of indie’s next big things, are actually an eccentric, movie monster mash-up of a metal band, similar in the vein of System Of A Down. And much like the young rapscallions that System Of A Down once were, tongues seem to not so much be firmly in cheek as boring a hole for freedom, if their social media is anything to go by. Their band logo is a baby rocking heavy duty headphones with a cigar taped to one ear, and the font looks drawn in Paint and coloured with stock textures from Word ’98 for christ sakes. But that’s where the joke begins to end. Amusing as their own antics are, there’s a pack of ferocious wolves that lay beneath the surface, luring you into falling for timidity only to have outstretched hands torn apart in a lust for bloodshed. They can be an unfathomably heavy experience to say the least, occasionally convulsing through their mood swings at times, but all while distancing themselves from the towering landfill of metal and deathcore wannabes. Doom Shroom, a slice taken from their perceived to be forthcoming debut album, demonstrates a little bit of the asylum mentality that their music takes on. Opening with almost nonchalant bass notes, little time is wasted in bursting out with guitars pulverising like stone fists from the gods, relentless drums hounding on your eardrums and vocals that switch from screams that could wither children in an instant, to gruelling, guttural growls you can feel at the pit of your own stomach, to understated clean sections which can only be described as the musical ramblings of a madman, complete with a melody you won’t forget in a hurry. But in a good way, it certainly has a Corey Taylor-kinda vibe to it. The addition of the choir puppeteered by keys halfway and at the end, also adds a nice extra atmospheric dimension instead of announcing a straight-up warpath. Doom Shroom doesn’t quite showcase their entire bag of tricks, but it’s an excellent introduction. The wackiness may not be to everyone’s taste, but there is still a brutal foundation for a formidable, enrapturing and undeniably unique metal force, unlike many before them. And remember kids, always check the label carefully, you never know what you’re getting yourself into.

I’m led to believe that once upon a time there was a six-song EP of theirs floating around, only it’s since disappeared from the internet. So until that time where material is released you should go to their website and listen to the three songs out there, being Doom Shroom, C0mb0 Song and rIpPleS, and else just have a general nose around.

Go give them a big virtual hug:

https://www.facebook.com/bIgtoBacCocoMpaNY?ref=ts&fref=ts

And if you liked the words I wrote, could I request a virtual hug too, be that in the form of a like, follow or blog subscription? At your own discretion of course:

https://www.facebook.com/IAmTheSoundshark
https://twitter.com/The_Soundshark

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Stalin

Bewilderment I’ve always thought is an unusual word. I can’t exactly explain why, but I’ve never felt overly compelled to use it in general conversation. According to the Oxford English dictionary, the definition of the word bewilderment is the state of being puzzled or confused at events that have transpired. Out of context, if you happen to be followed by an identity known only to you as Stalin, you can only be bewildered as to how this occurrence came about in the first place. After all, Stalin, the man himself, is one of the most divisive figures in modern history, as well as a hip-hop artist also from California apparently. So, just who or what is Stalin? That too is a subject of bewilderment. Although the facts are they are a rock band, there’s at least two of them and they have an interest in cult, stretching to occult paraphernalia, a box to define their sound or style doesn’t quite seem to fit them. Elements of bands in sparse amounts you can claim make up the fibre of their already distinct musical output, but aside from a background reminiscent of the school of grunge, they really are a beast of a unique breed. Whether progressive doom backed by eerie chimes in the distance, sludge dirges with a wistful piano break or the quiet-loud waiting game leading in a wave of devastation, Stalin does it with a beautiful yet slightly twisted flair that few bands are capable of. This is none more apparent in their possibly most accessible work California, in combination with the NSFW music video. Bass becomes a big focal point in the track, grinding the surface of sound into an uneasy meeting between yourself and a presence of unsettling intentions. Guitar opens the dialogue, a rich, almost lamenting series of notes expressing a tone of remorse, but not overbearingly so, kind of hinting that there may be an agenda more untoward than let on. Impressions from one of the most original vocal styles I’ve heard in years suggest that too, playing from sinister whispers, to soulful innocence, to crooning with a hint of deviance, to full-blooded screams, even foul-mouthed spoken word gets a look-in, all from the mouthpiece of an incredible talent. With a trance-like drum pattern, all of these pieces slot together into a tenebrous, evocative exhibition, leaving the listener on tenterhooks the entire time. The ending of four furious tapping and skin-bashing bursts into just ambience, the pounding of toms and yelling thought-provoking slogans is surprisingly powerful, not to mention relatively irregular in this kind of music. Unashamedly different in execution by unnervingly talented musicians, Stalin are not just a band, but an experience, an experience that keeps you guessing and rewards perseverance with a blackened take on reinventing the modern rock formula. Music for the masses they say? You’re damn right it is! Masses that have to hear this band.

Stalin are kind enough to be offering the majority of their recorded output on Bandcamp on a pay-what-you-want basis, which I’d recommend go looking at and supporting them. My words might make a little more sense if you watch the music video, which I’ll remind you is NSFW. You were warned. Oh, and they have a website to go look at too. Make sure you do that.

Go give them a like on social media:

https://www.facebook.com/Stalin1144?fref=ts

And if you like and enjoy what I do, give me a like, a thumbs up on Twitter or consider following my blog, all optional, it’s your life after all:

https://www.facebook.com/IAmTheSoundshark
https://twitter.com/The_Soundshark

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Moxy And The Influence

Kinda without wanting to get tangled up in the vast web and warzone that gender politics and feminism have evolved into, when it comes to rock music, women seem to have had it tougher because the industry put a lot of emphasis on marketing sexuality over talent. In smaller pockets of the industry, that can still be a problem, you’d probably need a few hands to count the amount of bands in which this happens to. But the ambitions of those determined, undeniably talented women, wanting to make a living doing what they love, keep tearing at the fence of adversity and the flow of females, not just as vocalists, but kickass guitarists, bassists and drummers is becoming more of a mainstay in up-and-coming bands. In and amongst those jostling for greater widespread attention and rightly so is the youthful spirit of California’s Moxy And The Influence. Sitting somewhere between the shoulder blades of Paramore and Halestorm, but raised on a healthy diet of glam and some of the greatest rock bands to ever pick up an instrument, the three ladies and one gentleman that make up the band have already received glittering acclaim and plaudits from local media outlets on their unforgettable melodic hard rock battle cries. Despite only being a band for two years and having an average age of 18, what staggers me most is how seasoned and polished they already sound for a band that could still be considered in its infancy. Since their inception, there’s been a steady trickle of singles and material, all packed with the charisma, fire and passion that makes rock ‘n’ roll function and personally, none fulfil that more for me than the punk-fuelled statement of empowerment that is Alive. Though lyrics lead me to believe that this deals with not being comfortable in a relationship, it feels more like acknowledging yourself and that you as an individual has purpose in this world, which despite sorrow breeding poetry, the optimism and positivity is incredibly refreshing to hear. There’s an attitude and sass to vocalist Moxy Anne that becomes far more emphatic against the well-oiled engine of the fast but weighted buzzsaw chords, bass that vibrates deep through your bones and drums that dictate the form of attack. Yet while the chorus is a strong mantra for believing in yourself, there’s an unexpected feistiness in the near-screams of a later bridge and a damn impressive, smoking hot guitar solo that follows it. Moxy And The Influence are similar in nature to that of wildcats: in no way to be underestimated and certifiably no hope of being tamed. A band of superbly talented musicians, very well versed in rock ‘n’ roll with the earworm masterstroke and the potential to climb very high in the musical food chain.

Their Alive EP can be bought from their website in a physical capacity, or from most respectable music retailers if you want the immediacy of digital. They have plenty of other merch available too if you wanna look at all the other things you could be buying.

Show them some much deserved love on social media:

https://www.facebook.com/MoxyAndTheInfluence?fref=ts
https://twitter.com/MoxyInfluence

And if you’re feeling generous and feel I deserve some love too, why not like, follow and/or subscribe to the blog? Or don’t. Your call:

https://www.facebook.com/IAmTheSoundshark
https://www.twitter.com/The_Soundshark

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Fashion Bomb

Fashion and music seem to have gone hand and hand with each other over the years, ushering each other’s development to the forefront of popular culture. There’s all manner of subcultures from punk, to goth, to emo, to skater, that was very much influenced by the music you listened to and vice-versa. It used to be about showing support and appreciation for the band you like (I’m sitting in a Killing Joke shirt at the time of writing this for example), which is still the status symbol it embodies today, but nowadays it’s become far more commercialised. Anybody has readily available access to a Ramones, Rolling Stones or Guns ‘N’ Roses t-shirt without ever having heard of their music. I wrote my dissertation based around this subject for my Media Studies degree, and as somebody who recognises their position as a producer and consumer of media content, the change over the decades has become far more poignant to this argument. Thankfully, Fashion Bomb are the right side of cultural consumption, looking and certainly playing the part of an accomplished industrial metal troupe, looking for the next fix of bodies to bludgeon. This five-piece hailing from Chicago evoke the ire of Manson in his industrial youth, but coursing with the intensity of punk, even stretching as far as hardcore’s brightest stars. Every nuance of their musicianship is packed with jagged-edged riffs and melodic hooks that etch themselves deep within your skin and across both their albums, they’ve proved a fierce presence on the industrial underground. 2008’s Devils To Some Angels To Others may share more common traits with a jackhammer, but it’s 2011’s Visions Of The Lifted Veil that elevated those pandemic levels of infectious melodies to their greatest height and yet The Meek is the perfect balance of musical grace and heavyweight destruction. And those destructive credentials are put on display right away. Almost from the get-go, the first wave of pounding metal might bulldozes all those unsuspecting, before the harmonic chorus reminiscent of the timbre of Orgy’s heyday casts piercing light through the brief but bruising beatdown. Each verse is a methodically paced lesson in creeping danger, sensing that the previous teasing of the show of strength can only develop into a longer headkicking, while the voice of the vindictive pours salt into the wounds. The resolute performance of the drums also takes starring role in keeping the soundscape tense in a tribal fashion, but nonetheless exciting. But that’s Fashion Bomb in a nutshell, another exciting, passionate breed of energised industrial metal, poised to declare war on those not compliant. Their fashion may be to walk in the shadows, but they sure hit with the force of a bomb when in plain sight.

Fashion Bomb’s two albums are only be available via most respectable music retailers it seems, but are in the usual social media circles and can be found on Last.fm too. They do have a website as well if checking that out is your bag, but go support them in the relevant method you see fit.

https://www.facebook.com/xFashionxBombx?fref=ts

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6 Bands I’m Learning Black Magic For To Resurrect Them

Affecting free will, or even reanimating the dead is a near impossible task to accomplish, unless you have lots of money. Maybe not so much the dead part though, if the deceased can come back to life from slamming a suitcase full of money on their coffin or ashes, then Michael Jackson and Elvis would still be touring now. Then again, holograms. The point is, there are circumstances out of our control that affect what we love on a day-to-day basis and as much as it hurts, you want to do whatever you can to make it better again. In my instance, it’s bands that are inactive, deceased or simply no longer exist any more. So I’ve assembled a cast of five semi-unknown bands and one famous that I would willingly unearth from the great musical cemetary, in no particular order:

  1. Ulterior
Photo source: The Quietus/Unknown

Photo source: The Quietus/Unknown

Press who are in the know about this London synth-rock/neo-goth outfit adore them, but their current whereabouts right now are unknown. All social media traces of them have disappeared bar their website, but even that only features a full-screen YouTube video. I can only assume they’ve disbanded, which is a tragedy for fans of icy, vengeful synth-dominated rock, that poured attitude and an arousal into the heart of darker electronica. I already have written about this band on three occasions, my personal favourite here. They chose three words: icecold, staticvenom and speedhate to describe their music and it’s spot on. While politically charged and taking square aim at mass media, there’s a lingering Sisters of Mercy flavour in their palette, yet the flirting with pseudo-industrial and the unmistakeable 80’s synth sound, there’s an anger but an addictive personality to their cold-hearted yet incredible songwriting.

Five of their best:




Everything else is via Bandcamp.

      2. Schoolyard Heroes

Photo source: Pop Matters/Unknown

Photo source: Pop Matters/Unknown

My case for Schoolyard Heroes isn’t even funny as they reformed last year for a one-off show in the States, but have no intentions for continuing on their cult appeal since calling it quits in 2009. The Seattle-based fearsome foursome were one of a kind and the fever around them has grown noticeably since their split. What Schoolyard Heroes essentially did best was a punk rock horror cabaret, splicing the struggles of teenage life with B-Movies and the macabre, resulting in an all out assault that could be glamorous as it could visceral. Although with three albums to their name, all completed well within their youth, you can only feel disappointed that their infectious punk parade didn’t spread like the plague. There’s so much to enjoy from their utter delight in matters most morbid and the exact kind of fun and insanity that modern music is missing.

Five of their best:
Children Of The Night
The Plastic Surgery Hall Of Fame
They Live
Contra
Bury The Tooth Of The Hydra And A Skeleton Army Will Arise

Social media is scarce bar Facebook, but their music is readily available from most respectable music retailers.

3. Working For A Nuclear Free City

Photo source: Indie On Bunnies/Unknown

Photo source: Indie For Bunnies/Unknown

Previous to Gary McClure’s new found success in lo-fi indie rock darling American Wrestlers, he was one fourth of an incredible Mancunian troupe of musicians and producers known as Working For A Nuclear Free City. What the status of the band is currently unsure as not long ago they were on the lookout for a video editor, possibly signalling new incoming material that never arrived. Those on the insider’s circle and were aware of Working For A Nuclear Free City’s existence knew of the vast creative capacity that they housed, but they never received the full acclaim they rightfully deserved. Mining from an inexhaustible bank of inspiration and influences, they put together three (four including the now-elusive rarities) albums of some of the most eclectic music I’ve ever encountered. An under-appreciated and true original band, hopefully to return one day.

Five of their best:
Rocket
Asleep At The Wheel
Quiet Place
Alphaville
Brown Owl

Social media works for them, even though their posts are sporadic via Facebook. I had no idea this song existed until I searched out of curiosity, but go buy this via Bandcamp and for everything else, go get their music via most respectable music retailers. Also if you’re into that sort of thing, go read this interview of theirs, it’s hilarious.

4. Pitchblend

Photo source: Altwall.net/Unknown

Photo source: Altwall.net/Unknown

This is one of the saddest stories on this list for me. As a band from Reading in the UK, a seasoned music city from a national perspective, to perform for 10 years, and to have next to zero recognition for what is a seminal sound and phenomenal emotional and spirtual journey, should be punishable under the country’s justice system. This is by no means their fault however, whether victims of circumstance or the cruel realities of life, people just weren’t in tune with their explosive wave of stunning post-rock exhibitionism. How beats me. Rarely can you hear so much passion and belief agonisingly pour out of every single note and word without fail. There is never a wasted moment on the entire Lines Of Unreason album and the fact this has stayed buried in the musical graveyard is a travesty. Words do so little to give merit to how excellent this album truly is.

Five of their best:
Sirens
Celsius
Revelation
Searching For Satellites
Somewhere I Could Never Find

There is a Facebook page for the band, though it is very much inactive. Their music is however available via most respectable music retailers.

5. Pure Reason Revolution

Photo source: NME/Press

Photo source: NME/Press

Boy, where do I even begin with these guys… There’s been very quiet rumblings yet incredible demand for a possible reunion for years, but no actual drive to capitalise on it since their demise in 2011. Whatever their reasons, Pure Reason Revolution were a breed unlike any others in their class. Marrying intelligent progressive rock with luscious pop harmonies that later stretched into deep electronica territory that still maintained their killer songwriting principles, the London musicians behind this monumental project rightfully gained a rabid cult following. But press tried in all their might to elevate the band to the height they deserved and shockingly, it was never reached. One day, one day, there’s a hope that they will return and their astonishing progressive masterpieces will conquer a new generation of fans.

Five of their best:
Bullitts Dominae
The Twyncyn/Trembling Willows
Deus Ex Machina
Black Mourning
Over The Top

Oddly, their Facebook updates occasionally, but not with Pure Reason Revolution news. Go show support if you enjoy them anyway. Their music is available at most respectable music retailers, buy all the copies.

and last but no means least…

    6. Type O Negative

Photo source: NY Rock/Unknown

Photo source: NY Rock/Unknown

While there is a remote hope for every band on this list to reform, chances here are far beyond impossible. Why? If you’re not familiar with the name Type O Negative, then you won’t be aware that vocalist, bassist and literal giant personality Peter Steele has been dead for five years, tragically passing away from the effects of an aortic aneurysm aged just 48. The music of Type O Negative has always had an air of severe gloom attached to it, oft with self-depreciating humour and self-loathing running through every fibre of their being, becoming synonymous with the band (they were nicknamed the ‘Drab Four,’ playing on the Beatles moniker). There’s an entire conversation for another time here which may arrive at a later date, but the long story short is, the irreplaceable black but beautiful expanding harmonies and inexplicable doom of one of goth rock’s best and beloved bands will seldom be replicated.

Five of their best:
Wolf Moon
Love You To Death
We Hate Everyone
I Don’t Wanna Be Me
Dead Again

Their Facebook updates are rare but relevant should you wish to get them, but worth showing support too. Their music as expected is also available via all respectable music retailers and the vast majority of merchandise can be obtained through their website.

Until I figure out a way to raise the dead, may all these bands rest in peace…

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Stinking Lizaveta

I don’t know about you but I have a friend called Lizaveta, well Elizaveta, known as Lisa for short hand. All I can and will tell you about her is that she didn’t stink, not by a long shot, although her room predominantly did. It wasn’t a horrific smell, just the constant burning of incense blending with the other smells of a dwelling containing four other mostly housebound students. There is purpose to this anecdote, as the phrase Stinking Lizaveta is actually lifted from Russian novel The Brothers Karamazov of which my friend will most likely be familiar with because she is also Russian. But not only does she share her name with a character from a Russian philosophical novel from the 1800’s, she also shares it with a highly unique instrumental hard rock trio from Philadelphia. Not only does the band have a career spanning over twenty years, but their approach to instrumentation makes their soundscapes an unmissable tour de force, blending a myriad and menagerie of genres from far and wide. In their own words, they describe their music as ‘doom jazz,’ not the first time the phrase has been coined, but the proclaimed label does have an air of truth to it. The free-forming and switching of tempos resembles that of jazz in its heyday, with the surprising size of strength behind the guitar in slower, concentrated jams certainly invoking a hazier doom spirit. But that’s where that label doesn’t begin to cover the vast spectrum of playing ability that Stinking Lizaveta are capable of morphing in their own eclectic manner. The highly cinematic Sacrifice And Bliss album from 2009, takes cues from Eastern Europe, noise rock, psychedelia, math, 70’s prog, funk, the blues and even modern metal in places, molding it all into a complex sculpture of tremendous artistic ability. Every song is its own tale with trial and tribulations. The title track for instance, shows that blues influence taking on an almost Spaghetti-Western persona, the sun rising on the backdrop of softer strums and more melodic notes, before drums work their way into the fabric, the constant crashing of cymbals giving power to an unseen protagonist, that once pace picks up, kicks into action. After a barrage of notes and drums, urgent and suggesting imminent threat, old school prog rock virtuoso soloing quickly comes into play, injecting an optimism and triumph into the proceedings as the protagonist has conquered all ahead of them. There is not really enough in just four and a half minutes to give you a full taste of how incredible these three musicians are. Steve Albini, Corrosion of Conformity and Clutch can’t be wrong to work with them. Although their name may not give much away, one thing you can be certain of is, if they had to stink, you can bet their stink would be an aroma of otherworldly proportions.

All of Stinking Lizaveta’s back catalogue can be found through most respectable music retailers, in physical or occasionally digital formats. In the meantime, if you enjoyed this title track, the entire album is available to listen to here.

https://www.facebook.com/pages/Stinking-Lizaveta/107546525942176

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Ghost Idols

Hundreds, probably thousands, probably hundreds of thousands of people on this planet claim that they have seen a ghost in their lifetime. But despite footage and images suggesting there may indeed be paranormal activity in this world, the subject still very much stays open for debate. People make fortunes out of it, however sincere or exploitative they may be. The jury is out for me personally. Some claims look more authentic than others, but until I kinda see or experience it for myself, my guess is as good as yours. Hello fate, I didn’t see you there! But whether you want to dispute the authenticity of LA’s Ghost Idols however, you’d be entirely foolhardy to do so. They are an anomaly, but purely because their sound doesn’t fulfil a ticklist for given genre conventions. There are nuances of many sounds absorbed into their matter, perhaps so many that the original sources are all but unrecognisable. Here’s what I can tell you. At its truest centre, Ghost Idols are at best a super heavy indie band, at times pouring enough fuzz and distortion onto a guitar to drown out a building demolition, while keeping the poppy vocal melodies and harmonies present, injected with force straight into your brain. Every second of a Ghost Idols song never misses a beat, there is always something switching or shifting around to demand your attention. Take Heathens from their self-titled EP from 2013. There’s a tirade of thunderous drums, meshing together with roughened chords and optimistic vocal tones that would sit well in Bloc Party’s back pocket, later going into a hardcore style breakdown harbouring a infectious kick pedal pattern, full buckshot-impact sludge guitar accompanying it. There’s even a lovely, understated little solo atop both bass and drums going hell for leather And if they aren’t switching up the texture of the sound, then they constantly switch the time signatures too. Literally every note has meaning and purpose on an unprecedented level. Ghost Idols, unlike ghosts themselves, are something you should fully believe in, as their adventurous sound is so versatile and dynamic, they should be heightened from underground dwellings to mainstream music acceptance.

Their self-titled EP is currently available on a pay-what-you-want basis for a digital copy, or a reasonable sum for a physical copy, as well as their most recent single Monsoons which can be bought on vinyl, all on their Bandcamp page. These guys are also recording an album right now, so any money given to them will be appreciated. They have a killer sound, they deserve it.

https://www.facebook.com/GhostIdols?fref=ts