We Must Obey

We've moved

noreply@blogger.com (thrashexpress) — Mon, 25 Jun 2012 14:12:00 +0000

That's right. After just over a year, I lost patience with Blogger's interface screwing me about and have decided to now transfer the site to Wordpress. Thanks for supporting us here, we hope you'll continue to support us there.

The new site can be located here: http://wemustobey.wordpress.com

See you there!

Peter Clegg

Deathwank/Wheelchair Wheelchair Wheelchair Wheelchair - Your Scene Means Fuck All

noreply@blogger.com (We Must Obey) — Thu, 07 Jun 2012 06:00:00 +0000

Deathwank/Wheelchair Wheelchair Wheelchair Wheelchair
Your Scene Means Fuck All

Deathwank emerged from the grind cesspool last year as Scotland's answer to Anal Cunt. Their songs were so ridiculously titled you couldn't help but thinking they were perhaps aping them a little too closely, especially given that their songs struggled to even reach 30 seconds a time. Here, they play the title track, their only track, at precisely six minutes. It's here they prove they can be more than pure imitators. It could well be the case that this is several songs rolled into one track, given the high number of time changes, stick clicks and paces on show, all nailed in one take. Whatever, its fucking genius. It's insane. It's sounds like the bloated offspring of Melt Banana and The Afternoon Gentlemen, getting bounced from wall to wall, with only the briefest of respites before getting submerged back into its torture cell with no true means of escape. Put simply, this is one of the grind highlights of the year so far.

Conversely, Wheelchair Wheelchair Wheelchair Wheelchair contribute tracks, and in comparison to last year'a fantastic 'Contraception', is altogether more concerned with brevity than concept. This despite an intro and outro track, both sounding suspiciously like a TV theme tune in structure bookending their side of the split. It's rampant and chaotic, only truly letting up with a truly phlegm-wretching snarl during 'A Film That No One Ever Watches', the only post-minute track they post.

It's two very different approaches to grind, though the end product is still the same. If it were a boxing match, I'd perhaps hand it to Deathwank on this occasion, simply for breaking out of their micro-shackles in favour of a singular take rollercoaster of insanity. Still, 'Your Scene Means Fuck All' is ridiculously great stuff all the way through, and has left me greatly anticipating each band's next move, particularly the new Wheelchair x4 album, which promises a sexual concept. Nice.

Peter Clegg

Download Deathwank's side here
Download Wheelchair Wheelchair Wheelchair Wheelchair's side here

Stream each side of 'Your Scene Means Fuck All' below:

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Wheelchair Wheelchair Wheelchair Wheelchair Bandcamp
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Cannibal Corpse - Torture

noreply@blogger.com (thrashexpress) — Wed, 06 Jun 2012 06:00:00 +0000

Cannibal Corpse

Torture

Metal Blade

Let's get one thing straight before we continue here; one given with 'Torture' is that there's no real surprises to be expected. Everybody knows what Cannibal Corpse brings to the table, and that's brutality, riffs, blastbeats and buckets and buckets of gore. That they're still doing this on their twelfth studio album and still remain at the top of the death metal is testament to their merciless delivery time and time again.

'Torture' quite up there with recent albums 'Kill' and 'Evisceration Plague', but those two albums were mercilessly brilliant and that doesn't mean 'Torture' is a slouch in comparison. Far from it. There is an ever so subtle shift in dynamic without dramatically cutting at what Cannibal Corpse do. There's more than one occasion where they're almost in groove territory, which, if you've not heard the new album yet, is not something to be alarmed by – the riffs are still ultra heavy and George 'Corpsegrinder' Fisher delivers his guttural vocals in much the same fashion too. There's also some sterling bass work by Alex Webster on here, the highlight being a ripping bass solo during 'The Strangulation Chair'.

Cannibal Corpse - Encased in Concrete (official video)

To sum it up with various tracks is futile because Cannibal Corpse is Cannibal Corpse. But once again, Erik Rutan's has turned out a sterling production job and captured Corpse's bloodthirst on record supremely well again. One or two outlets have proclaimed this album as a career best although, once again, I would still take 'Kill' from their recent output, but even if you've heard everything they've had to offer before, this is still a worthy pick up, and you're one of the few people on this planet to have never heard Cannibal Corpse (where have you been?), now is as good a time to start as any.

Peter Clegg

Buy 'Torture' here

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Visions: Motörhead – God Save The Queen

noreply@blogger.com (thrashexpress) — Tue, 05 Jun 2012 09:00:00 +0000

So today’s the day of our Queen’s Diamond Jubilee celebrations. It’s also my second wedding anniversary!

Enough about my personal life though. Here’s some things you need to know about Motörhead’s cover of one of the Sex Pistols’ biggest hits.

1. I’d wager it’s better than the Pistols' original. It certainly rocks more.

2. They bothered to make a video for it. And it’s quality, as they perform on a flotilla around ol’ London town.

3. Lemmy. Without a beard! But still the coolest frontman you’ve ever seen.

4. Yep, definitely better than the original.

But that’s my opinion. You can weigh in with your two pennies below. Once you’ve watched the video, that is. It’ll only take around three minutes of your time and it’s more fun that the day’s celebrations, that’s for sure.

Peter Clegg

Shameless Plug: Wort - Worts N' All!

noreply@blogger.com (thrashexpress) — Fri, 01 Jun 2012 06:00:00 +0000

I'm not going to review this EP properly because although it doesn't contain me as a band member, it does contain fellow contributor Mike as well as my other Poison Dwarf bandmate Phil. They are now part of new band Wort, and play diabolical blackened sludge/doom metal. Completing the line-up is Sanhedrin drummer Sam, who I must say takes my place in this offshoot band and puts in one hell of a shift. Their debut EP 'Worts N'All!' was released recently and I unashamedly can say it rules. Four tracks of face pummelling sludge channelling the usual suspects of Black Sabbath, Bongzilla, Electric Wizard, Dragged Into Sunlight, Grief, Eyehategod and more besides. If I didn't have obvious bias I'd give it a full review – nonetheless, tracks like 'KDK12' and 'Plumplestiltskib' absolutely slam with all their misanthropic intensity – I personally love the whole thing and ain't ashamed to state it right here.

You can stream the whole thing below here, and the EP is available as a free download on Bandcamp. Go get it now and keep in touch with them – hopefully they'll be playing a show near you very soon!

Peter Clegg

This is not a tribute

noreply@blogger.com (thrashexpress) — Thu, 31 May 2012 06:00:00 +0000

For some reason, I feel compelled to devote time and energy to the subject of tribute bands – a niche of live music that really doesn't normally interest me and has no relevance to me as it's not a representation of incoming talent. With the greatest respect to these bands, as good as what they provide might be, I want to hear what the likes of Iron Witch and Zillah have got coming next, and not how good an impression of Phil Lynott a Thin Lizzy tribute act can do.

What has stirred the hornet's nest, so to speak, is my own gullability. I was drawn in by my local rock bar, The Parish in Huddersfield, putting out a status on Facebook asking how many people liked TURBONEGRO. The post got a fair few appreciative comments with one or two people perhaps wondering and suggesting The Parish were about to announce something big. I certainly did, I'm embarrassed to say. I wish I hadn't.

Maybe it was the fact Wheatus had just played there. Maybe it was because they'd had big acts in the last year or two. Maybe its because Turbonegro, much as I love them, haven't had as great a profile in the last couple of years as they did around the middle of the last decade, owing to ill health and the departure of frontman Hank von Helvete…to scientology. I'm fully aware they did recruit ex-Dukes of Nothing singer Tony Sylvester to replace Hank and they're doing the festival circuit this summer in support of new album 'Sexual Harassment'. But I could dream. Aside from the aforementioned Wheatus, the venue had recently lured Ginger Wildheart and Fleshgod Apocalypse among its big names to perform there. Surely, surely this was going to be the epic announcement the tease suggested.

Not so. Instead, what was announced was Turbonegra, 'the world's number 1 all-female Turbonegro tribute!' Several people appeared to like the announcement, others said they'd be on it in a shot. Out of respect I declined to comment further simply as I didn't want to appear to be criticising the venue's booking strategy (which I have no say in at all), and wasn't intent on upsetting good friends with my brutally honest assessment.

Which is as follows: Aside from the irony of an all-female Turbonegro tribute potentially singing songs such as 'Denim Demon' and 'I Got…(which I'm sure isn't lost on them), I really don't see the appeal. I've already seen the previous incarnation of Turbonegro three times, once at the Cockpit in May 2005 which I remember very well due to being on the verge of fainting from sheer sweat and heat exhaustion. That will probably be the Turbonegro experience for me that will never, ever be topped. But more importantly, the real Turbonegro are still very much active – why would I want to see a tribute act when I can wait for the real thing to come around again? And why would I want to tarnish such a memory by watching a band who, as good as they might turn out to be, will never be as good as the band they are imitating?

TURBONEGRO: THE REAL THING

Surely that's a conundrum that most music fans that live in towns that bands don't visit very often face. Do you save your money for the day your favourite band announces a tour within accessible reach? Or do you take a wild stab at that really similar sounding tribute act who play the area often? Who knows when Kiss will be back around town? The temptation to instead see Kiss Alive! Or Hotter Than Hell, for example, will always linger for those wanting a Kiss experience but not wanting to fork out the high prices the real Kiss charge. But again, I was lucky enough to see Kiss when they performed at Donington in 2008, an experience I will never, ever forget as long as I live. I even have the copy of the show on CD if I ever get reminiscent.

I'm not a rich guy. I'm comfortable but that's through hard work and prudent financial sense. I've saved for the gigs I want to go to and more often that not, get the necessary bang for my money. I will never disrespect what bands like Turbonegra, Limehouse Lizzy, Hotter Than Hell, Slack Babbath, Motorheadache, Live/Wire et al do, and one day, my opinion may shift. But, while their heroes/heroines are still going strong, I'd rather sit back and wait. I'm not going to regret missing any tribute. I might regret it if I didn't take my chance there and then to see the real thing live while they were in the UK, or while they were going. Fair enough if the actual band you're aping isn't around any more. 101% Pantera is one good example, considering the real Pantera will most likely never perform again owing to Dimebag Darrell's death. Even then, I'd never feel desperate to want to go and see them.

Maybe I'm being a prude. Maybe I'm losing sight of the fact that a tribute band isn't really going to make a lot of money out of their fan service, and that what they do is something they do well. Putting the effort in to be their heroes, performing to a range of spectators, not all of whom will regularly chuck themselves into a moshpit and more than likely have only the most passing of interests in rock music. More likely than that, they probably just want a good time, and who can blame them?

I'd love for people to chip in with their opinions. It's not the most pressing of topics on a blog that is constantly championing fresh new bands. But I personally feel I needed to put it out there, because my own gullability certainly set me up for disappointment – disappointment at which I needed to vent.

Peter Clegg

Visions: Primus - Lee Van Cleef

noreply@blogger.com (We Must Obey) — Wed, 30 May 2012 07:00:00 +0000

It feels like ages ago since Primus released 'Green Naughahyde', their first album in 11 years. At last, however, they have released an official video for the song 'Lee Van Cleef', which asks the eternal question burning on Les Claypool's mind - whatever happened to Lee Van Cleef? The question was apparently born out of Claypool's curiosity as to what became of the late Van Cleef, against the clamour for living legend Clint Eastwood, whom he starred alongside in some of the great Western movies in years gone by, including starring the villainous Angel Eyes in 'The Good, The Bad, and The Ugly'.

The answer apparently lies here. You see, if you watch 'The Good, The Bad and The Ugly' right through to the end credits, you'll see Angel Eyes reincarnated as a zombie. Apparently.

Peter Clegg

Dope Body - Natural History

noreply@blogger.com (thrashexpress) — Mon, 28 May 2012 06:49:00 +0000

Dope Body

Natural History

Drag City

The term 'punk' is more loosely defined than ever. Once a defiant statement of rebellion, its label has been applied to some many undeserving things that the lines of what is punk and isn't punk are more blurred than ever before. Evolution is a welcome thing but the watering down of punk's description certainly hasn't been. These days, unless you really sound and look the part and chime in with an acidic bark and a sheer defiance of authority, the next best attributable thing is probably to acts which exudes a hint of apathy and a smattering of could-care-less what you think attitude blended with a penchant for excess. That's perhaps how I could at least best sum up Baltimore's Dope Body, a quartet whose 'Natural History' is perhaps one of the finest dangerous, reckless and indeed careless statements of arguable punk today.

What is noticeable straight away is Dope Body likes to mix things up. 'Shook' opens this album and is effectively their arising from slumber, really coming across with a Melvins and assorted slow punk vibe. The following track 'Road Dog' is a more straightforward rocker, with a fantastic pre-chorus chant of 'do what you wanna do/see what you wanna se/go where you wanna go' before launching into a more passionate refrain. It's hard to pick out what I like most about the album, with the fantastic tinkling riff of 'Twice the Life', the slow, brooding intent of 'Out of my Mind', the easy riding wit of 'High Way' with the line of 'I'm not hopelessly looking/I'm not hopeless but I'm not looking!' all proving to be addictive highlights. If its any justice as well, 'Weird Mirror' will be one of the feelgood hits of the summer, even if it were only for its 'woah-oh's and careening pace.

I've been listening to this record a lot over the last week or so and that I'm still enjoying it and still not tired of it speaks a lot for its quality. This was my first exposure to Dope Body and the results could not have been more stunning. I'm aware their songs were much more punchy and brief in their early days but they've evolved into a howling vortex of jarring noise and punk rock energy. It might all be effects and technical wizardry, but guitarist Zachary Utz seems to be able to contort and conjour all manner of noises from his guitar – I could've sworn 'Twice the Life's twinkling riff was a steel drum at first. The heady brew of sonic sounds is complimented by vocalist Andrew Laumann's assorted yelps, howls and reverberations and makes for perhaps one of the most exciting bands of our time. Its punk rock thrown in the blender with the Jesus Lizard, Lightning Bolt and other assorted supplements, as if to celebrate your stupor. At the same time, it's perfectly accessible, losing none of its quality for it either.

I wouldn't go as far as to say its wholly original, but this experimental approach has certainly paid dividends and I don't expect it will be too long (or so I hope) before Dope Body break out of the USA and over to Europe and beyond. 'Natural History' is going to be an absolutely compulsory purchase when it drops, as high a compliment as I really give around here. Do it.

Peter Clegg

Buy 'Natural History' here

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John Garcia and Brant Bjork respond over Kyuss Lives! lawsuit; Kyuss name dragged further through the mud

noreply@blogger.com (thrashexpress) — Fri, 25 May 2012 13:35:00 +0000

Deary, deary me. Now it seems its getting personal between the four men at the center of the pending lawsuit over the Kyuss name. As you may remember, Josh Homme and Scott Reeder filed a lawsuit against former bandmates John Garcia and Brant Bjork over the use of the Kyuss name in relation to Garcia and Bjork's reformation of the band under the name of Kyuss Lives! Garcia and Bjork have remained largely silent. Until now that is, with this revealing e-mail exchange courtesy of Rolling Stone.

Some of the more interesting exchanges are listed below:

Did the federal lawsuit filed by Josh and Scott in March come as a surprise?

Brant Bjork: Was I surprised? As far as Scott is concerned, yes, I was very surprised. I wasn't surprised by Josh at all. They don't want to mention that they trademarked the name Kyuss after I left the band, assuring that I had no rights in Kyuss' future. They're both accusing John and I of doing something that they actually did themselves. Their inner conflict is this: both Josh and Scott want control and money from Kyuss Lives!, but they don't want to participate and they ultimately don't want us to exist. The double standard is unbelievable.

… We have a lot of respect for Scott as a musician and had a lot of respect for him as a person. Based on the fact that John and I jammed with Nick at Hellfest in 2010, we asked Nick to be the bass player and its quite obvious Scott is bitter about that. Scott's stance is weak and shameful.

Bjork also went into detail about when he formed Kyuss in 1987 and criticized Homme's attempt to claim the band as his own. "This untruth has affected Josh's ability to accept historical fact to the point that he truly believes he is entitled to dictate what we do with a band that we're all responsible for. The simple fact that we got the band back together without him has left his ego bruised. I swallowed the bitter pill watching the band carry on after I left – now Josh is getting a taste."

How would I steal a name that I myself found? Trademark infringement and consumer fraud are accusations used by Josh and Scott to justify why they do not want John and I to continue as a band without them. As for consumer fraud, we had a successful last year performing sold out shows all over the world. Kyuss fans are intelligent, conscious people. If they thought this was consumer fraud, they wouldn't have supported it. Their accusation of consumer fraud a year after our successful tours is very insulting to us and to the fans.
John Garcia said of the band's future plans: "Win or lose, we believe that the name Kyuss Lives! is worth fighting for, and regardless of the outcome of this foolish lawsuit Josh Homme and Scott Reeder have filed against us, we will continue conducting business as usual and connecting with our amazing loyal fans. It is our God-given right to play any and every Kyuss song anywhere and anyhow we see fit, no matter who wrote what, and we will continue to do so for as long as we are alive. Because of this, we have already won."

I don't think there are any real winners in this – at least Black Sabbath had already done their best to sully their reputation before the Bill Ward fiasco, but at least they've come out of it relatively clean time and time again. There are plenty of losers here – myself and fans of Kyuss the world over will be disappointed at how readily this lawsuit appears to be played out in public, and its more certain than not that more dirty laundry is going to come out of the wash yet.

You can read the full entrée here.

Peter Clegg

Live Review: Black Sabbath @ O2 Academy, Birmingham, 19/05/2012

noreply@blogger.com (thrashexpress) — Wed, 23 May 2012 12:34:00 +0000

First of all I would like to highlight the predictability of this "review", which can't realistically be called a review, because that would imply it was an objective analysis. Attempting to write anything too derogatory about Black Sabbath might be compared to asking a devout Roman catholic to sodomize our good Pope Benedict XVI. This wouldn't be a good example, because Black Sabbath are the creators, not an implement, secondly, I cannot vouch for the extent of sexual deviancy within the Catholic church.

After several hours of getting steadily giddier in Scruffy Murphies, (a place where a disregard for the decade leaves band t-shirts tightly tucked into denim) where the Sabbath discography was being worked through, we made our way to the O2 Academy. After being frisked and a quick bar visit it struck me that I was possibly going to have to stay in the same spot for the entire concert. The crowd were packed thick from the front to the very back and I had little hope of gaining much ground even if I coated myself in Vaseline drank away my conscience and ran screaming into these good people.

My worries about the view disappear when Ozzy's voice screams out and an eruption of noise and raised hands is the crowd's response. The Lord of the riff plays a rising scale and 'Into The Void', tears open the night. Concerns about the band's enthusiasm or ability to play as they might have are immediately smashed. Ozzy sounds powerful and is as animated as I've seen him, grinning manically (possibly due to surgery) with blackened eyes, looking like an erratic jack in a box designed by Tim Burton. Tony's flawless evil groove and biting licks are executed effortlessly, all while wearing his sun glasses and a thick leather jacket which must have been warmer than hell, his demeanour relaxed and emotionless bar the occasional telling smile. After War Pigs, Ozzy stated that people often complain about the lack of early material. The words "Black Sabbath" commence what was without a doubt the greatest part of the night. A glimpse into a part of history that created and evolved into heavy music as we know it today was possible, the intensity and raw heavy power of what Black Sabbath were in the early days electrified the atmosphere, with Geezer's brilliant and ever changing bass lines maintaining the stomping groove throughout 'Black Sabbath', 'The Wizard', 'NIB' and 'Fairies Wear Boots'.

It was during this frenzy of greatness that the androids I had situated myself amongst seemed to become increasingly disturbed by my movement, and general display of human emotion. Unequipped for dealing with this humanoid situation they began to shove and elbow me in confusion. For a brief moment, I stopped, puzzled. Tickets were hardly in abundance, this was a show for true Sabbath fans and these nerds are more concerned with me than the fucking Wizard and Lucifer! Ridden of guilt I informed them I wasn't there to fry their circuits and ploughed through to much greener pastures (or a better view and section of the crowd).

The atmosphere had peaked and the coke fuelled uplift of 'Tomorrow's Dream' gave way to the crushing Haze of 'Sweet Leaf'. More early album greats came before the less predictable but very enjoyable 'Dirty Women'. After being promised one more song if we were loud enough, very predictably, 'Paranoid' was played. I've never been sure why it's a favourite and was a great deal more excited when they teased with the intro to 'Sabbath Bloody Sabbath' before playing it. The crowd explode one last time and a spectacular night is over.

It was a pleasure to see how much the band enjoyed it, with Ozzy joking amongst them, hugging Tony and calling him the Iron Man. The obvious void that Bill (Ward) left is a great shame and I'm sure he'll feel that more than anyone. I'd be lying if I said that this put a downer on the performance in anyway, bar a "Bill", chant that went pretty strong during a short drum solo. I'm not sure it was a very good idea to draw attention to the poor bastard sitting in (that'll be Tommy Clufetos - PC) but he was soon rescued by the rest of the band. All in all Black Sabbath at the O2 Academy was the experience of a lifetime and one I'm honoured to have witnessed.

Michael Collins

We Must Obey is one year old!

noreply@blogger.com (thrashexpress) — Wed, 23 May 2012 06:00:00 +0000

Holy crap. Little did I know when I started this little blog on May 23^rd, 2011, that it would be where it is today. Little did I realise I would have a nice little thing going on, with people from around the world viewing this little site and actually giving a crap about what I, and occasionally Michael, have to say, on subjects as diverse as rock, metal, live music, videos, popular topical culture, idiotic journalists, cake, beer, local issues, etc.

It goes without saying I'd like to thank each and every one of you who has supported the site is anyway since its inception. The labels, the PR firms, the bands, the gig venues. And you, the readers, the fans. And anyone I forgot.

We're still a small operation and I, in particular, am hampered by woefully falling behind most modern technology and instead am really running this show on a shoestring. Limited access to internet, a laptop that barely works, and a reliance on listening to albums on the commute. If I were forced to continue down that path, I'd still be as happy as the day I started – listening to heavy music is my force majeure, and discovering new bands is my musical caffeine, and forever will be.

At this stage I ought to give a special shout out to Lauren Barley at Rarely Unable, who has done a fantastic job filling me in and keeping me informed on a lot of wonderful heavy music and some weird and wonderful stuff too that has truly broadened my mind. Not least of all for getting me in touch with a world I was previously not used to. A special shout out also goes for Chris at Witch Hunter too, Paul Priest, and any bands and indeed anyone who has e-mailed my inbox in the knowledge of having little or no chance of a reply. And certainly not least, cheers Mike for chipping in with your wonderfully-worded reviews and live pieces. That Five Finger Death Punch rant always makes me chortle.

My lack of resources and indeed the roving eye of copyright means none of you won't be getting a mixtape out of me, or a sneaky free download or anything like that. However, I decided to give the site a lick of paint, which I sincerely hope you appreciate, and in addition, I'm going to provide you with a video I'm pretty sure is harder to come by than an issue of Kerrang that doesn't feature the Black Veil Brides these days. This is the Combat Tour 1985, dubbed The Ultimate Revenge, featuring Exodus, Slayer and Venom in their prime. I was only a nipper when this tour took place. The only reason I wish I was about 20 years older. Three kick ass bands, all metal, all raging. Enjoy.

I'm going to mutedly celebrate privately at home tonight with my family and anyone else who happens to be there. With beer. And maybe cake. I deserve it, cos I work my backside off for this blog, and I will as long as it's humanly possible.

Merci!

Peter Clegg

Trippy Wicked & The Cosmic Children of the Knight - Going Home

noreply@blogger.com (thrashexpress) — Tue, 22 May 2012 06:00:00 +0000

Trippy Wicked & The Cosmic Children of the Knight

Going Home

Superhot

Despite my burgeoning interest in what the UK underground has to offer, which was sparked by the creation of We Must Obey, it has taken me until now to check out the fantastically monikered Trippy Wicked & The Cosmic Children of the Knight. Only earlier this year they released an acoustic performance of Eyehategod's 'Dixie Whiskey', played on a ukulele and with a melody the song had never seen before. It was genius. Therefore when notified of the release of their new album 'Going Home', I was on it in a flash.

Initially, all is well – the title track starts proceedings and is a nine-minute sludgy rock journey. Epic is an entirely appropriate word to use here because it's a divine track, really feeling like a voyage by the end, and Pete 'Trippy' Holland (who already contributed some cracking backing vocals to Stubb's debut album earlier this year) really carries you home. Literally, he's one of the best rock vocalists going at this minute. This theme doesn't really run through the remainder of the record, as they get down to some nitty gritty blues rock riffs most of the rest of the way. The trouble is, after the initial promise of the first few tracks, they get mired it constant singing about alcohol and wanting another drink. Musically, its not bad at all, actually really enjoyable with some good rock action going on. The lyrics just let it down as it makes it sound very clichéd. By the time 'Change My Way' comes around as an act of redemption it's a little too late, and the show's over by then.

I can't help but think if the tracklisting was played in reverse it might sound better. I just think that the euphoria I got from the title track would have been an ideal note to finish on. Nevertheless, for my all niggling, 'Going Home' is still a solid album and fans of folky, whiskey-soaked rock are bound to go for this, as much as I'm keen to explore Trippy Wicked further. I'm a whiskey lover too, but I'd personally like to think Trippy Wicked can broaden their horizons come album number three.

Peter Clegg

Buy/download 'Going Home' here

Stream it below:

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Graf Orlock - Los Angeles

noreply@blogger.com (thrashexpress) — Mon, 21 May 2012 10:19:00 +0000

Graf Orlock

Los Angeles

Vitriol

Having run the gambit on forging together classic action movies together with hardcore and grindcore noise, Graf Orlock can rightfully claim to be the undisputed kings of 'cinemagrind'. Some might have thought they might have run out of good samples to use following 'Doombox' and the 'Destination Time', but Graf seem to keep unearthing them. And where better to turn to than 1995 action classic Heat for four tracks of surging violence that reminds us why Graf Orlock are one of the most exciting extreme bands of our ilk.

The artwork, riddled with bulletholes shot into the artwork by the band themselves, is classic Orlock (previous releases have come in packaging styled as a boombox and a facehugging Alien. It's a tidy little homage to Heat but a marker on what the next ten minutes are going to do to you. Each song begins with a now trademark movie sample, followed by battering ram riffs. There's something magical about hearing Robert De Niro's voice prior to Graf Orlock bringing down the hammer – songs like 'Dead Man Talking' rage and thrash with all the intensity we're used to from the band. For me though, the par excellence comes on the finale, 'Quick on the Trigger', a relative grind epic at four minutes, which begins in typical grind/powerviolence style, but around the 1:50 mark, introduces a plodding groove that morphs into a dredging hardcore riff punctuated by a hail of bullets. An awesome finish to a relentless ride.

Not many bands, when I'm just listening to them, makes me want to particular rock out. I mean yeah, I meant nod/bang my head occasionally but nothing too strenuous. Graf Orlock, on the other hand, is a different proposition. The more I listened to 'Los Angeles', the more I wanted to go positively ape in the middle of the street. Seriously, there's something about the insane riffage or the short wait for a riff following a delicious movie sample that grabs me by the throat and rags me about like Bulletstorm's Grayson Hunt.

If anything, I'd like more from Graf Orlock on their next release, and by that I mean a proper follow-up to the 'Destination Time' trilogy. This EP is killer, but although it's not the shortest EP I've ever listened to, ten minutes is still a short amount of time. Still, 'Los Angeles' is the tiny sliver of cake required to have us hungry for more of the same. A bigger piece next time will do nicely.

Peter Clegg

Buy/download 'Los Angeles' here

Stream it below:

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Manchester City and the final day of the Premier League 2011-12 season: A musical analysis

noreply@blogger.com (thrashexpress) — Fri, 18 May 2012 11:33:00 +0000

Unless you've been living under a rock or are perhaps in a country not as obsessed with football as we are, you'll be well aware that after 44 long, painful years in the shadow of their arch-rivals across the street, after spending millions (billions?) of pounds and many other ups and downs, including a demoralising relegation to League One, Manchester City finally clinched the Premier League title by pipping the previous champions Manchester United on goal difference, courtesy of a 3-2 victory over Queens Park Rangers in which they were still losing 1-2 the 90^th minute of the match. United's 1-0 victory at Sunderland would have been enough, but City were in luck – five minutes of added time brought about by a moment of madness from QPR's Joey Barton allowed City to finally make their tidal wave of pressure count, as goals from Edin Dzeko and Sergio Aguero clinched City victory from the jaws of defeat.

Hard rock/metal and football don't make very good bedfellows, unless you're Olaf Mellberg, but as proven in this fourth musical analysis, there isn't a subject I'm afraid to tackle with a soundtrack to the key parts of the event or incident in question. Football is indeed a game of two halves, and this particular musical analysis is no different – the first half will focus on City's battle to become champions- and their eventual triumph; the second on Barton's behaviour during, and post-match too.

Skindred – Pressure

[from Babylon, Lava/Bieler Bros., 2002)

It doesn't take a genius to know that to win the Premier League title, or indeed simply to succeed at all in the Premier League, that you've got to endure the high stakes. The pressure is there to see on the faces of the players, the managers, the fans. For this reason, 'Pressure' is an entirely appropriate song and one I won't mind seeing played on a few more football shows. There's one line in particular, however, that sticks out like a sore thumb – that being:

'Annoying neighbours are banging on your door

Saying they can't take your noise no more'

How apt based on Sir Alex Ferguson's now infamous comment following United's last gasp 4-3 victory over City in September 2009, when he said: And Ferguson said: 'Sometimes you have a noisy neighbour. You cannot do anything about that. They will always be noisy…'You just have to get on with your life, put your television on and turn it up a bit louder'.

Skindred - Pressure (official video)

City aren't just the noisy neighbours any more now though; they've positively gatecrashed their neighbours residence at the top of the Premier League pile, and their status as the current number 1 club in Manchester. United's rich and successful history might have something to say about that, but City indeed grew tired of being the second best club in Manchester and by winning the Premier League in the fashion they showed their resilience and perhaps sent out a signal of intent to dominate for the next five-to-ten years. We'll see, of course.

ALEX LIVESEY/GETTY IMAGES LTD

Fear Factory – Cyberwaste

[from Archetype, Liquid 8, 2004]

In the 59^th minute of Man City's match with QPR, there was some sort of altercation between Joey Barton and Carlos Tevez. In my opinion, whatever Tevez did seemed minimal, and certain didn't warrant Barton elbowing him in an off-the-ball incident. The linesman spotted it, and the referee promptly sent Barton off. Cue anarchy as Barton proceeded to knee Aguero in the leg for no apparent reason than to dead leg him or injure him. A further melee ensued, with Barton then squaring up and possibly attempting to headbutt City defender Vincent Kompany, and as he left the pitch, exchanged words (and nothing more) with resident City bad boy Mario Balotelli. Luckily for him, QPR managed to retain their Premier League status, despite ending up relying on results elsewhere in spite of an heroic ten man effort.

City's title triumph ought to ensured that remained an ugly footnote but it undoubtedly became a talking point for many, and Barton, who not too long ago self-exiled himself from Twitter, rejoined the social networking site airing his views and rejecting any criticism flying his way. Initially trying to excuse his actions by tweeting: 'Still not my proudest moment but who gives a fuck, we are safe……….and that is all that matters', and, 'The head was never gone at any stage, once I'd been sent off, one of our players suggested I should try to take 1 of theirs with me...'. Personally I'm not sure how true that last comment is. There were literally seconds between the red card and the knee he inexplicably planted into Aguero's thigh.

He then went ahead and went toe to toe with Blackburn and Newcastle legend Alan Shearer and Match of the Day presenter Gary Lineker on the service with more pearls of wisdom. When Lineker put it to him suggesting only Barton would still consider himself 'misunderstood', Barton retorted: 'do you wanna go there publicly "Mr Squeaky Clean" ? Think u should have a look in that vast closet of skeletons before u respond'…'now back under your stone you odious little toad'

And then at Shearer's criticism, after acknowledging Shearer's playing career:

'But I have a better hair(which is not hard), wear well better shirts on TV and have a personality(something u lack)'.

Unfortunately Joey, that personality appears to be that of a bonehead who can't accept even the tiniest bit of criticism that comes his way. Well Joey, here's one more bit of negativity to chew on: I have better hair. I have well better grammar.

Seriously though, the man has shown his true colours here. I can't deny that Barton is a decent player, and on his day is extremely difficult to play against. But he's always one incident from the tripswitch. And it seems the justified criticism that came his way on Twitter was nothing but trigger after trigger, which Barton could only respond to with all the finesse of a glorified troll.

Fear Factory - Cyberwaste (official video)

Granted, Fear Factory's 'Cyberwaste' is actually a song more aimed as a barb at internet trolls who critique negatively from the safe haven that is their bedroom, and indeed those who purportedly spread lies about Fear Factory and Burton C. Bell. But certain lyrics within the song represent how one might feel about Barton's Twitter image and the man. For instance:

'Speak your worthless point of view
A cog in the machine
Your damn words are straight up lies
Continue to deceive'

I'm not saying Barton is a barefaced liar, because there's nothing to dispute his interest in artistic culture, or The Smiths and whatever else. Just that this image seems a fallacy now in light of his surly online attitude. Joey Barton might wish to paint himself as a changed man, an intellectual among his peers who are often portrayed as not the brightest on occasion. What unfolded on the pitch and then off the pitch on Sunday 13^th May pretty much ruined whatever the mainstream media had bought into about this man.

And I know, I'm no different firing barbs at Barton from behind a monitor. But it's a commentary at the end of the day, from a rock and metal journalist lampooning a national mainstream story. It's just a shame that Barton seems to be obsessed with getting people's attention. We ought to learn to turn a blind eye, at least until he's actually willing to maturely back up his criticisms and his actions. Because as the song goes, Mr. Barton, 'Nothing you say matters to us'.

Peter Clegg

Previous musical analyses:

The Chisora-Haye Brawl
The Trial of Conrad Murray

The 2011 England Riots

Steak Number Eight - Dickhead

noreply@blogger.com (thrashexpress) — Thu, 17 May 2012 06:48:00 +0000

This is one of the most fun videos I've come across in a while. Not quite the most bonkers, but still. This delightfully titled track from sludgy Belgian rockers Steak Number Eight has come to my attention as these guys have received some kind press attention in the UK through one or two metal publications – although when you're doing videos like this in this day and age you're bound to get noticed.

It features a bunch of animal mascots pursuing a heinous banana who seems intent on pranking his chasers as a means of escape. That includes slinging turds at them. The mucky pup. In any event, it's a chuckle and certainly one that keeps your attention. The lyrics are slightly brainless but there's an undeniable quality to the song thanks to its riffage which I feel improves as the song progresses towards its final moments.

I must say as well, it's really hard to believe that this band has an average age of just 18! Lyrics to this song aside, they sound really mature for their age, a notion I haven't had since I first clapped ears on Decapitated in 2002. You're sure to be hearing more about these guys in future.

More info on the band can be found at their official site.

Peter Clegg

Hesper Payne - The Strange Tale of Samuel Gonzalez

noreply@blogger.com (thrashexpress) — Wed, 16 May 2012 08:00:00 +0000

Hesper Payne

The Strange Tale of Samuel Gonzalez

Works of Ein

This release missed my roving ear by some distance – 'The Strange Tale of Samuel Gonzalez' was released by Newcastle-Upon-Tyne's Hesper Payne right at the beginning of the year, and it wasn't until towards the end of last month, following some slightly earlier but nonetheless late buzz on another metal site that I chanced upon this band. I'm glad that I did, because Hesper Payne are another well kept secret that the U.K. north has churned out in recent years.

'The Strange Case of Samuel Gonzalez' consists of only three songs, timing at least seven minutes a time, and for anyone not initiated into Hesper Payne's world – they've been going since 2004 – this is a wonderful, dark, unearthly introduction. Their potent brew stirs up a powerful mix of doom and death metal, the latter styling largely reminiscent of 'Covenant'-era Morbid Angel. This particular EP stomps and steamrolls through its entirety, serving up delicious grooves, daemonic beats and a journey into an underworld inspired by all things mysterious and Lovecraftian. The EP as a whole displays their incredible range, the title track a meandering nine-minutes of doom grooves, horror-styled atmospherics and an otherworldly tale, and the closer, a reworking of one of their older songs 'Litany of the Drowners', indulges itself in some incredible gloomy foreboding atmospherics that wouldn't sound out of place during Cathedral's most crushing moments. Inbetween all that, they do show some incredible death metal nous, not focusing on speed or blastbeats but on churning grooves and charging drum patterns that rightfully obliterate.

One of the awesome things I've discovered about the foundation of 'The Strange Tale of Samuel Gonzalez' is that the band ran a competition where the winner got a Hesper Payne t-shirt and a song on this EP. Mr. Gonzalez is the (un)fortunate soul upon who the title track is based, while 'Ospreys' Jar' was inspired by a fan's short prose that is soon to be posted on the band's official site. That, ladies and gents, is fan service.

I don't know what it is about the north of the UK that leads to our country cranking out cracking bands time and time again – maybe it's the whole 'grim 'oop north' philosophy. But seriously, Scotland are spoiling us with their extreme scene and we have Newcastle to thank for doom/drone punishers Bong in recent years, and now one of the better kept secrets, Hesper Payne. In a day and age where the record industry is falling apart, constantly struggling to keep up with modern developments, metal will always stand strong having long got the knack of being self-sufficient. That it's hidden a band like Hesper Payne from me until now is something it ought to explain to me though. This is quality stuff and should be consumed by everyone, at once.

Peter Clegg

Buy/download 'The Strange Tale of Samuel Gonzalez' here (name-your-price)

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Saint Vitus - Let Them Fall

noreply@blogger.com (thrashexpress) — Tue, 15 May 2012 09:00:00 +0000

The only video I can recall ever getting round to watching of Saint Vitus was on a reissue of their seminal album 'V', which featured grainy black and white footage of Vitus playing at The Palm Springs Community Centre in 1986. 'V' happened to be the last Vitus album that featured Scott 'Wino' Weinrich on vocals, until this year with the recent release of comeback album 'Lillie: F-65'. Those ever supportive chaps at Scion A/V have gone as far to put out a video for the album's opening track 'Let Them Fall'.

Directed by Michael Panduro of Siegfried Productions (who has shot vids for Cephalic Carnage and Rotten Sound among others), it's a bit of a strange one. It's basically a lot of people apparently in some sort of agony or screaming at the sky, with no sign of the band at all. That said, the song itself isn't half bad, with Wino's signature vocals over the top of Dave Chandler riffs again! I've not yet heard 'Lillie: F-65' in full but this song is a good omen of what to expect from the return of one of doom metal's overlords.

'Lillie: F-65' is out now on Season of Mist records.

Peter Clegg

16 - Deep Cuts from Dark Clouds

noreply@blogger.com (thrashexpress) — Sun, 13 May 2012 06:45:00 +0000

Deep Cuts from Dark Clouds

Relapse

Having put themselves back in the sludge picture with their Relapse debut 'Bridges to Burn', 16 are back with ten more tracks of sonic bleakness, where once again positivity is properly shut out and only heavy misery remains, and vocalist Cris Jerue spitting out lyrical woes over various chug sludge riffs. They haven't evolved much over time, even up to now, and simply don't feel the need to. They convey their message very effectively indeed.

Initially I struggled to find anything particularly memorable about 'Deep Cuts', even though there's nothing wrong with the material. Its very much as you were and perhaps one of the things I can note is how Jerue's vocals, wrapped in distortion, rarely ascend from (though no less passionate for it) a consigned-to-the-gutter scowl – as opposed to his fierce yell on 'Throw in the Towel' (from 'Bridges to Burn') for example. I don't raise that particularly as a negative point, just one that to me stood out on an album full of solid riffs and jams, but few on standout moments. That said, now I've heard the album a few times, there are a fair few shining moments, and when they do occur, they really do stand out – personally I'm digging the bludgeoning breakdown on 'The Sad Clown', and the brutally raw 'Bowels of a Baby Killer', with the line 'blame/it's not your fault/shame/but you deserve it'. And 'Only Photographs Remain' is one of the (lyrically) most miserable tracks you'll certainly here all year and one of the best too. A real sludge downer to finish on, it deals with the subject of grief appropriately, and you can actually sense the gloom in Jerue's voice, and in the band's instruments, as he growls 'feel my pain/only photographs remain'.

It's a strange sensation to say there's not a lot of stand out moments, though, when you've actually enjoyed said album. Perhaps it says a lot about how little 16 have changed over the years, focusing instead on their sludge/noise racket to create an abrasive, wallowing experience, no less intense than previous records, just one mired in heavy, sludge addiction abuse. Those perhaps craving a little more from this band might be slightly disappointed, but most will celebrate the return of a band that have had more than a few troubles of their own in the past. I'll choose to sit in the latter camp. It's not 16's best work by any means, but not many can make such depression sound better.

Peter Clegg

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Opeth riding a crocodile

noreply@blogger.com (thrashexpress) — Fri, 11 May 2012 13:37:00 +0000

Need I say more?

Peter Clegg

Bong - Mana-Yood-Sushai

noreply@blogger.com (thrashexpress) — Thu, 10 May 2012 06:50:00 +0000

Bong

Mana-Yood-Sushai

Ritual

Murmurs in the Bong camp have been quiet since Newcastle-upon-Tyne's heaviest four-piece dropped 'Beyond Ancient Space' upon us all last year, a record so earth shattering and mesmerising even in a sober state was I able to be taken away by the hum and the drone of the band's heavy brew. A few live shows aside, there's not been much to see or discuss about their activity since. That's probably just how they lie. No worries though, as their previous discography shows a prolific release record that has just been added to with new album 'Mana-Yood-Sushai'.

Where their previous release nearly consumed the whole disk (in physical terms), 'Mana-Yood-Sushai' comes in much less voracious at a comparatively standard fourty-six minutes. Even so, the band are in no less mood to entrance you with just two songs, and they've not necessarily become any easier to listen to, even though this is, incredibly, their first studio recording in seven years as a band. 'The Dreams of Mana-Yood-Sushai' is the album's opening track, over twenty-six minutes long and equally rich in concept, based upon the first god and creator of all other gods in Lord Dunsany's fictional work 'The Gods of Pegana' (thank you Wikipedia, and The Sleeping Shaman for the tip). After a lengthy opening development that includes an ominous warning on Mana-Yood-Sushai, the song explodes into full ominous lurching mode, pinning down an ultra-slow four bar riff with the chant of 'Mana-Yood-Sushai' booming in the background. The length of the song is such that it seems quite fitting in relation to Skarl, the fictional drummer who ceaselessly drums in order to keep Mana-Yood-Sushai asleep, to prevent him from destroying the world.

The second track, 'Trees, Grass and Stones', is at first a more refrained affair, with the bass drone somewhat muted to begin with, slowly becoming more prominent during the song. The ethers slowly burn away as the drone increases, revealing a slow low-end three note groove that underpins the melody, as psychedelic flourishes prevail more and more as the song approaches the end of its nineteen-minute-plus duration.

I personally don't like this record quite as much as 'Beyond Ancient Space' and some of their other selected works, but that's not a major complaint and after the beyond-earth trip of the previous album, it is great to see Bong using even the slowest of melodies to create an otherworldly experience this time around. This record holds your attention throughout despite the gargantuan lengths of each song, and I managed it despite once again being completely abstinent of any supplemental vice, though again I can see why it might enhance the experience. Anyhow, there's not many who do this thing better than Bong at the moment, and their reefer continues to burn strong.

Peter Clegg

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Ufomammut - Oro: Opus Primum

noreply@blogger.com (thrashexpress) — Wed, 09 May 2012 08:56:00 +0000

Ufomammut

Oro: Opus Primum

Neurot

Ufomammut's sound defies any natural explanation of doom. Intrinsically the core elements are there, the body hammer riffs, the booming drums, the thick sludgy grooves. The ethereal vocals, the spacey effects and the mystery with the band serve to convolute matters. Not that's it's a bad thing – everyone loves a bit of mystery. And then there's their lofty ambition to stand out from the rest of the pack. Be this their collaboration with Malleus to provide their stunning visuals or the concepts they employ, and you can see why Steve Von Till was keen to make them an addition to the Neurot family. Following on from the success of 'Eve', Ufomammut's next step is to unleash a two-part opus entitled 'Oro'. The first of those parts 'Opus Primum', has dropped like a proverbial atom bomb, and even the highest of expectations for the new relationship between Neurot and Ufomammut have been blown away thus far.

'Oro: Opus Primum' consists of five epic, sonically-charged tracks that elevate Ufomammut to even newer heights. The opener 'Empireum' slowly builds with an almost alien-synth noise that slowly echoes across the initial hum, the melody of which returns in different forms across the album. Eventually it kicks in with some fine sludge jamming, but things really go up a gear on 'Aureum', with a fabulous sludge groove that shifts around the 4:15 mark leads to a cracking groove and encounters many more twists and turns before it's finally done. From there its reaches a sense of triumphalism, with the soaring 'Infearnatural', the thick low end slurry counterpointed by bassist Urlo's majestic, entrancing voice as it starts. If you ain't drawn in by that rare vocal moment, then I honestly don't know what will. The lack of vocals don't hinder Ufomammut whatsoever, but when they do use them, as they do on this song, they deliver. That spooky melody does indeed return at the beginning of 'Magickon', providing a nice set-up, and a fitting one at that, for closer 'Mindomine', which the melody plays out in full riff form, bringing about the experience full circle.

Ufomammut - Aureum

The progression is such that it could be presented as one individual track – as previously indicated, riffs, sequences and lines are echoed at various points in the record, not unlike Meshuggah's 'Catch Thirty-Three' or, more recently and more closely, Mike Patton's soundtrack for 'The Solitude of Prime Numbers'. It gives 'Opus Primum' a cinematic feel almost, something in keeping with their audio/visual collaborative, and it makes it all the more interesting for it. Indeed, the vinyl versions of the record come with a DVD with the visuals for the album, an experience at this stage I can only anticipate to be mindblowing. The tracks certainly stand up alone, but it's in its entirety that 'Oro: Opus Primum' truly excels.

I kept my expectations well in check for this release, even given Ufomammut's previous successes, but this is seriously a bar raiser for doom metal in 2012, and I really can't help but wonder and anticipate what 'Oro: Opus Alter' might bring when it is released in September.

Peter Clegg

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Planet Janet @ The Parish, Huddersfield, 28/04/2012

noreply@blogger.com (thrashexpress) — Tue, 08 May 2012 08:00:00 +0000

w/ Beretta Suicide, Hellbound Hearts + more

Disclaimer: This review includes a band that features my brother Davey on guitar. I don't give a hoot if you feel the review is somewhat slanted. Even if I'd have been born 5,000 miles away, been completely unrelated and not known a thing about any of these bands, these bands would have still rocked it as much as the below account details.

As with any gig these days, fatherhood takes precedent over the party, so my late arrival means I missed the first two bands (Escape Artist and Animated respectively), and only caught the last two songs of Hellbound Hearts' set. What I did see, though, I enjoyed. They reminded me of bands such as Backyard Babies and earlier Wildhearts, with some great classic synchronised rocking action on the frontline. Featuring ex-members of Terrorvision, expect to hear a little more about this band in the future.

That said, if I'm recommending Hellbound Hearts on the strength of two songs, then lordy, Beretta Suicide should be force fed to every man woman and child. A quartet coming out of Leeds, they unleash a blistering punk rock set with plenty of rock 'n' roll swagger, seemingly happy to barge themselves around and chuck in heavy grooves and anthemic choruses all the same. Their live show is hugely enjoyable as much as it is a statement of intent.

And now for my brother's band, Planet Janet, who were playing their final show together while launching their album 'Janetalia' at the same time. Featuring members of local luminaries Mr. Shiraz and The Pretty Machine, they were intent on making it a party atmosphere, with a Euro-dance rave-up preceding a countdown into a cover of Andrew W.K's 'Party Hard', before launching into songs mostly cut from their album, with additional covers interspersed and tinned lager shared aplenty. A couple of idiots in the pit (who duly got what they deserved) didn't last too long, and failed to ruin what was a spectacularly fun set and - I say this for the neutral – might have left a few people wondering what might have been. Songs such as 'Starter Gun' and 'You Should See the Other Guy' are proof of the local all-star ability of this band which edgy riffs and proper choruses. Alas, that's your lot. I'm surely they're all too busy with other things now, ha ha. Though who knows what the future might bring.

And one further thing. The venue was packed out for the headliners, and it'll be absolutely bursting when Wheatus roll into town soon. Further proof that the local music scene is absolutely buzzing and thus a major reason why this venue is key to Huddersfield's alternative scene.

Enjoy the photo reel below. As you can see, this was a bloody brilliant evening all round and every bit as epic as the above account suggests.

Peter Clegg

HELLBOUND HEARTS

BERETTA SUICIDE

PLANET JANET

Beastwars - Beastwars

noreply@blogger.com (thrashexpress) — Mon, 07 May 2012 11:00:00 +0000

Beastwars

Beastwars

Destroy/Witch Hunter

Some of the best new bands are the ones that go largely quietly unnoticed. That's the feeling I get with Beastwars, who were previously unknown to this country prior to being picked up by Witch Hunter Records, who are handling distribution of this album in the UK. That said, they received much critical acclaim back in their homeland for their debut album, and it was only a matter of time before the wider world got word of Beastwars.

Despite the obvious name connotations with the Transformers, there's not more to these four guys from Wellington, New Zealand than meets the eye. Instead, what you hear is what you get, and that's some stunning sludge-infused heavy metal, covering a wide range of ground, from thunderous songs such as 'Damn The Sky' and 'Mihi', groovers such as 'Red God' and the fantastic 'Cthulhu', every bit as ominious sounding as the beast it is named after. Over the course of its nine tracks, its hard to pick out anything about 'Beastwars' that disappoints. The bass is staggeringly low in the mix – not Sunn 0))) low or anything on a drone scale, but it rumbles deep beneath the guitars, giving Beastwars an almost leviathanic effect. Bass isn't everything in a metal band, but it sure does help when it creates such a sound. Their vocalist Matt Hyde has a cracking voice, able to drift from spoken drawl into a full blown war cry in a moment.

In future it might well serve them to vary the pace a little more – everything on 'Beastwars' is more or less the same tempo, bar some of the later, slower tracks. That said, it's refreshing to not hear a band attempting to melt your face with sheer speed, while retaining the ability to crush your senses every time. While they draw obvious comparisons with established sludgy/heavy metal acts like High on Fire, Baroness, Bison B.C., and even acts such as Soundgarden, it's not really a bad group to be affiliated with, and especially when you can deliver the goods like Beastwars can.

Peter Clegg

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R.I.P. Adam 'MCA' Yauch, 1964-2012

noreply@blogger.com (thrashexpress) — Sat, 05 May 2012 06:42:00 +0000

Torche - Harmonicraft

noreply@blogger.com (thrashexpress) — Thu, 03 May 2012 14:39:00 +0000

Torche

Harmonicraft

Volcom

It feels like ages since we had a proper Torche release. That is, if you discount the quicker than a hiccup release 'Songs for Singles' in 2010. 'Meanderthal' would have been an appropriate mantra for the band following the release of that album, with the following full length held up by line-up changes, singer/guitarist Steve Brooks getting back together with old band Floor, and a split with Part Chimp last year that featured not one but three Guided by Voices covers. Good things come to those who wait, however, and 'Harmonicraft' is by and large the follow-up we all hoped for.

Andrew Elstner takes up the position of lead guitarist following the departure of Brooks' long-time bandmate Juan Montoya, but 'Harmonicraft' is typically Torche and begins with upbeat flourish. The anthemic 'Kicking' sums up what Torche do best, surely designed for the live arena when people will no doubt bounce in unison when Brooks yells out the word 'Kicking!' Elstner gets the chance to put his stamp on the band with some searing guitar solos, such as the beginning of the 90-second 'Walk It Off'.

Torche - Kicking

'Harmonicraft' trips up slightly during its midsection, a weak underbelly that strives too much for pop sensibility that it trips up over it and knocks their fine sludge/pop balance off kilter. No amount of echoing high end riffage such as at the beginning of 'Snakes Are Charmed' can avoid that, and the result is something distinctly lacking in any punch or any real sense of hook, and I failed to be overly enthused by the following track's brief bounce ('Sky Trials') . Thankfully they manage to pull it back around by the end of the album, with 'Kiss Me Dudely' being a more rampaging celebration, and the outstanding and contemplative 'Solitary Traveller' is also particular highlight.

I don't think 'Harmonicraft' is Torche's best work – I've noticed a lot of people hailing it and everything but it took a little while to grow on me, such a thing that didn't happen with previous Torche releases. That said, the majority of 'Harmonicraft' is quality, and when they get the formula right, boy do they get the formula right. The marriage between joyous and upbeat harmonies and sludgy downtempo melodies still work fine. My personal ideal is for them to not to tinker with the formula too much – it worked for AC/DC and The Ramones, and while Torche are neither of those bands, they have a formula that doesn't require much alteration or experimentation.

Peter Clegg

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