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5IVE - "The Telestic Disfracture"
DEAD MEADOW - "Howls From The Hill"
ENTOMBED - "Morning Star"
FIREBIRD - "Deluxe"
GORILLA - "S/T"
MASTERS OF REALITY - "Deep In The Hole"
GIDEON SMITH - "Southern Gentlemen"
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5IVE
"The Telestic Disfracture" [ CD - Tortuga Recordings ]
The year is 2238. The place is a galaxy as yet unknown. A race of beings unrecognizable
to humans picks up a radio signal. It is a broadcast emanating from earth in the year
2001. The content is the music from "The Telestic Disfracture". The aliens that are
listening seem puzzled at first, then they begin to understand. Soon they are swaying
rhythmically back and forth with what might be a look of ecstasy on their "faces".
They understand completely now. 5ive speaks a universal, nonverbal language that
communicates directly to the intellect...
The most remarkable thing about this emission from a long forgotten corner of the
space/time continuum is that it was made by a two piece band. Guitar and Drums.
That's it. This is no experimental jazz combo though, this is a heavy space rock duo.
And I want to make sure and emphasize the heavy in that description because this
album weighs a ton. For a comparison point of 5ive's music think heavy instrumental
tracks on "Welcome to Sky Valley", think early Hawkwind spaced-out jams, think
Earth's drone guitar. That pretty much gives you the picture of where this Boston
duo fit in the musical spectrum, heavy, spacy, droning.
This is their second album and it shows a definite growth from the self titled debut.
The biggest change is that they reigned in the nearly freeform jam structure of their
first record. "The Telestic Disfracture" features a couple of definite songs, "Stockholm
(Blues) and "Nitinol", and a couple of long jams, "Shark Dreams" checking in at 17:41
and the "Synapse X3" trilogy totaling 33:38. The two "songs" feature guest vocals
from Jonah Jenkins of fellow Boston band, Milligram. You might remember him as the
vocalist for Only Living Witness too. Warhorse drummer Mike Hubbard chips in with
guitar and bass on "Synapse X3".
Jonah's vocals really add to the tracks they appear, both because of his outstanding
performance and because they seem to give a more accessible identity to the band.
Newcomers will find it easier to digest the enormity and complexity of 5ive if they
are introduced with something familiar like vocals. The deliberate build of
"Stockholm" and the super heavy riffing on "Nitinol" are a great one-two punch and
set up the far out meandering of the last two tracks. Fans of 5ive's experimental
drone/space/desert first album need not worry though, there are plenty of cosmic
explorations on here too.
"Shark Dreams" is a dark and mysterious track that starts with tentative, probing
emissions and grows into the roaring cacophony of the interior of a rocket engine at
liftoff. At times this song comes across as Kyuss covering Mogwai -- enormous
downtuned riffs and huge dynamic variations. Then 5ive add their own signatures of
noise and feedback to make it something altogether new. The epic "Synapse X3" trilogy
closes this disc out with a trance inducing workout that takes drone and jam elements
and melts them together in a nuclear reactor. Better than drugs, but with no side
effects. Don't miss this. Prepare your intellect and absorb the message of "The
Telestic Disfracture"...
drew
T R A C K L I S T
1. Stockholm (Blues)
2. Nitinol
3. Shark Dreams
4. Synapse X3:
a. Sleep for the Larsen B Shelf
b. Telluric in Transudate
c. Comae
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DEAD MEADOW
"Howls From The Hill" [ CD - Tolotta Records ]
Walter sez:
Messing with 70's hardrock ala Led Zeppelin, Jimi Hendrix and the
psychedelic sounds of "Obscured By Clouds"-era Pink Floyd, Washington's
Dead Meadow are no strangers to trance-jam epics. Injecting a good dose of
punk energy and primal blues too, "Howls from The Hill" is a kaleidoscopic
odyssey to undiscovered, vast landscapes. Very pleasant places to hang out
due to the band's soulful fuzzed out guitars, hazy guitar leads and a
laidback drumbeat. It's the musical embodiment of urban cowboy fantasies;
off-key living in the rural hinterland.
In a dark and twisted way the album recalls the heady days of The Byrds
"Sweetheart of The Rodeo" or The Door's "L.A. Woman." An ode to blue collar
life in the country as well as the neon lights of a fucked up city.
Combining dreamy, acoustic leanings with hypnotic jams, this weird contrast
is magically captured by these atmospheric rockers. "Howls From The Hills"
is definitely one of the most tripped-out albums of the year, and a must
have for those who love head-travels. Count me in!
Drew sez:
Is there a musical nexus between Canned Heat, the Grateful Dead and Spirit
Caravan? I think there is, and it is called Dead Meadow. On their sophomore
release these D.C. jam/doomsters show a tripnotic progression from their
promising self titled debut. The most marked characteristic of "Howls From
The Hills" are the meandering journeys authored by perhaps the fuzziest
wah-guitar sound ever. Distant, dreamy sounding vocals evoke a strong
psych/freakbeat feeling that plays off well against their loose jamming
style. The rhythm section provides both a rock solid foundation and a
pulsing heartbeat that keeps things on a rock heading.
And don't forget the riffs. Infectiously they slink and slide around,
exploring new textures and tempos but remaining doomed, making a mockery of
some of their musically single minded peers. There is a strong blues element
that makes some appearances in raw delta blues style, not just the modified
blues-rock style of rock. A fine, unique, honest statement that deserves to
be heard by the widest possible audience. Who's up for some
Populist-Blues-Jam-Drone-Doom?
T R A C K L I S T
1. Drifting Down Streams
2. Dusty Nothing
3. Jusiamere Farm
4. The White Worm
5. The One I Don't Know
6. Everything's Goin' On
7. One and Old
8. The Breeze Always Blows
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ENTOMBED
"Morning Star" [ CD - Music For Nations ]
Entombed went from being a groundbreaking metal band ("Left Hand Path", "Wolverine
Blues") to one that struggled at the end of the 90's. The lineup had changed, the
musical direction was moving toward an attempt at commercial success (in the field of
metal only) and the albums were not good. Then came last years "Uprising". It was the
return of the raw uncommercial Entombed with an unbelievably ripping first track
("Seeing Red"), and the old school cover art. The whole thing was a blast of "back to
basics" death 'n roll, and it resulted in one of the year's really good albums.
Could they keep it up? Could they do it again? These were the big questions that
lifelong Entombed fans were asking. "Morning Star" is here and the answers to the
questions are a resounding, "HELL, YEAH!" Well, for most of the album anyway...
The biggest surprise on this record is that Entombed are definitely showing signs of
progressing in terms of their songwriting. Check out the amazing first track "Chief
Rebel Angel" to see what I mean. The way the twin guitars of Hellid and Cederlund
churn over the aggressive double bass barrage is truly METAL and then you throw in
LG's insane howling and the crafty keyboards and background chorus and you have
Entombed equipped to slay for the new millennium. Oh, did I say slay? Must have
been a Freudian slip, because at the same time the band is looking boldly into the
future they are also looking fondly at the past.
The band they are looking fondly back at is Slayer, because there sure is a lot of "Seasons in the Abyss"-style twin
thrash guitar over technical drumming on here. The middle of track two is the first
clear example of this. Sandwiched between the classic death 'n roll beginning an
end, "I For An Eye" is a strangely retro counterpoint to "Chief Rebel Angel". By the
time "Bringer Of Light" rolls out its acoustic-guitar-layered-over-drums break and
its vaguely nu-metallish bridge, it's hard to tell what the heck is going on.
The death-thrash of "Ensemble Of The Restless" serves as a resounding kick in the
ass, and the simultaneous forward looking and backward thinking vibe begins to
solidify.
Unfortunately, the next track is the clunky and dragging "Out Of Heaven" which is
much too simple and empty to be worthy of inclusion on this album. Maybe sensing
this, the band unleash one of the best tracks next with the furious and relentless
"Young Man Nihilist". The energy and vitality of the band matches LG's and the result
is pure bliss. The tremendously technical drumming of Peter Stjarnvind is a real joy
here. "Year One Now" shows off some punk roots before getting completely obliterated
by the incredible stuttered riffs and wall of guitar sound that is "Fractures". This
song has a distinct Unsane feel to parts of it, introducing yet another element of
Entombed's increasing musical vocabulary.
"When It Hits Home" and "About To Die" bring back the thrash, and with tremendous
results. "About To Die" rivals "Chief Rebel Angel" as the albums best track. Closer
"Mental Twin" is another noise-metal track that puts LG up front while backing him
with a brooding, bass-driven riff. The surprisingly catchy chorus and innovative
soloing further establish this as the new Entombed to reckoned with.
The production on "Morning Star" is very "live" sounding, very honest with few
tricks or embellishments. It' s nowhere near as raw as "Uprising" but that is
fitting, because this is a much more varied and interesting album and deserves
slightly sharper production. Longtime fans don't need to worry though, the flaccid
sheen of "Same Difference" is nowhere to be found, this album sounds hard and crunchy
and metal. Is this another "Left Hand Path" watershed moment for Entombed? Only time
will tell, but it's a hell of great listen in the meantime.
drew
T R A C K L I S T
1. Chief Rebel Angel
2. I For An Eye
3. Bringer Of Light
4. Ensemble Of The Restless
5. Out Of Heaven
6. Young Man Nihilist
7. Year One Now
8. Fractures
9. When It Hits Home
10. City Of Ghosts
11. About To Die
12. Mental Twin
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FIREBIRD
"Deluxe" [ CD - Music For Nations ]
A year after their much acclaimed debut, Bill Steer's retro project Firebird
release their second full-length album entitled "Deluxe." Often lumped in
with the bludgeoning riffrock scene, Firebird avoid such pigeon-holing with
their own firebrand style of 70's hardrock which is more bluesy and draws
inspiration from the likes of Mountain, Cream, Humble Pie and Free.
Recorded at Berno Studio's in Malmo Sweden, Steer, Ludwig Witt (Spiritual
Beggars) and Cathedral's Lee Smee create a natural, authentic sound. "Deluxe"
is not only laced with great grooves, mind-splitting leads and
energetic playing, but also has excellent tunes full of melody and soul.
Songs like "Hammer & Tongs" and "Steamroller" have been demo'd even before
the first album. According to Bill Steer, both tracks are heavier in style
than the rest of the LP while openers "Dirt Trap" and "Forsaken" show the
more riff-based side of Firebird. "Zoltana" is almost a 12-bar blues type of
song, and "Slow Blues" is the only entirely live recording on the album; the
only song without guitar. It's just harmonica, bass and drums.
Firebird's "Deluxe" will easily win the praise of those who like the heavy 70's. That
said, the album is highly recommended, and it sports a beautiful illustrated
cover by 70's artist Charles Raymond for that authentic old style look.
Walter
T R A C K L I S T
1. Dirt Trap
2. Forsaken
3. Hammer & Tongs
4. Steamroller
5. Miles From Nowhere
6. Zoltana
7. Lonely & Sober
8. Sinner Takes All
9. Sad Man's Quater
10.Slow Blues
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GORILLA
"S/T" [ CD - Lunasound Recordings ]
Walter sez:
Gorilla are from England and were formed in the summer of '98 by guitarist John
Redfern and bassist Sarah Russell. The last piece of the Gorilla jigsaw was crazed
double bass drum monster Richard Gupy. A reincarnation of Keith Moon? Could be, no
one one knows for sure... What is known for sure is that Gorilla oozes the rare funk
of the heavy 70's. Calling upon the essence of their heroes [The Who, Grand Funk and
Blue Cheer], Gorilla create some kind of alchemy on their debut that causes a mind
altering, fuzz-laden trip to Detroit's Grande Ballroom on a hot 'n sweaty summer
night in '71 where MC5 are throwing down their sonic supremacy...
The album is full of kick-ass retro rock foot stompers. Redfern's riffs are thick,
murderous and smoky. Armed with his trusty Gibson SG Special, he lights a primal fire
in opener "Good Time Rockin". There's some drag race induced action in "Coxsackie".
"Roach End Salad" sports a James Gang/Grand Funk feel with Bonzo's kit beaten up by
the illustrious Moon. "Acorn Brain" and "Nowhere To Go But Down" -- in the best Blue
Cheer tradition -- are based around Sarah Russell's superdoom bass riffs. "40 Winks"
is Gorilla's Sabbath worshipping. Then there's "Ironball", the one that started it
all for Gorilla and "Day Blindness", a song that could have been written by The Who
and included on their classic "Live at Leeds".
Finish everything off with an authentic, live-sounding production from Mr Liam "Boom
Boom" Watson and you have an album that sounds like a long lost 70's gem, Gorilla is
the exact prescription for my "bored with new rock" malaise. The doctor brought me
the cure!
Drew sez:
This album kills me. KILLS ME! It releases some kind of primal energy that turns me
into a seething, raging beast. First you have drummer Gupy who just beats the skins
senseless! Ghost of Moon indeed! More like a 40 foot tall giant beating on the kit
with a couple of redwood trees. Then there's bassist Russell's fat sensuous grooves
that define the bottom end and then freak out in Entwistle speed runs up and down the
neck. She is equally adept at being the bottom or soaring off to the stratosphere.
Guitarist Redfern tops everything off with a sound as heavy and greasy as a leaky
transmission from a 1970 Buick GS. He spews notes like a bad fighter spews broken
teeth -- bloody and painful -- and then tears off ripping garage riffs that snap yer
neck and rock yer ass.
When I die I want "Nowhere To Go But Down" to be my funeral dirge. Besides the fact
that it's a great pun, this is the riff that I want to send me off to eternity.
And it's not just a riff, it's a great song. Sure, Gorilla have huge, raw sound and
they have a great retro vibe but what they really have is SONGS. Great heavy rock
songs with stops and starts and build ups and let downs and melodies and stupifyingly
crushing riffs. That is how they compare to Blue Cheer to me, with great songs. My
other favorite song is "Coxsackie" with it's "dirtier than a porno film in a mud
storm" guitar sound. This is a song that the MC5 would be proud to have written
themselves, an epic jam based on heavy blues and that explodes into a guitar noise-jam
freak out. YES!!!! MORE!!!! AAAUUUGGGHHH!!! I better go lay down now...
T R A C K L I S T
1.Good Time Rockin'
2.Coxsackie
3.Roachend Salad
4.She's Got A Car
5.Buzzard
6.Nowhere To Go But Down
7.Acorn Brain
8.Forty Winks
9.Day Blindness
10.Iron Ball
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MASTERS OF REALITY
"Deep In The Hole" [ CD - Brownhouse Recordings ]
"Now I am a saint a worried stone I ain't - astral traveller. Now I am a cat what you think about that - nerve unraveller", the opening phrase of "Deep In The Hole", the much anticipated new MoR platter sets the tone perfectly. We'd better buckle up, 'coz Saint Goss is taking us for another wild ride through some of his most colourful dreamscapes.
The follow-up to 1999's introspective "Welcome To The Western Lodge" sets off with "Third Man On The Moon". It oozes the freshness of the Masters' first album combined with sprinkles of foot stomping glam rock... irresistible. In all honesty, I'm glad to hear that the urge to rock has resurfaced, and that it's demonstrated clearly in tracks like "A Wish For A Fish" and the dangerously addictive "High Noon Amsterdam".
But we wouldn't be dealing with the Goss man if he wouldn't choose to shed his skin every other track. That aspect is amplified on this record by an impressive list of guest musicians (Josh Homme, Mark Lanegan and Troy Van Leeuwen to name a few), so that basically each song is performed by a different set of Masters. The result is an immensely varied and rich musical patchwork.
"Have you forgotten where the beauty lies?", asks Goss in the mellow Beatlesque "Major Lance". And apparently it lurks in between things, in the vacuum between entities, in the misty meadows between chords and verses. Beautiful layered harmonies, laidback grooves, sonic blasts, it's all there. This is the original stoner (the way it was long before some thug stole the term and raped it), tugging along on the path laid out by the likes of Cream, Pink Floyd, the young sir Bowie and John, Paul, George and Ringo on acid.
This album adds yet another throatgrasping page to the evergrowing Masters saga, which has just begun to reveal its main theme.
I suspect the appropriate keyword could well be "honesty". Darn, I even believe the guy when he says we should be dusting off them old Yes records.
chris
T R A C K L I S T
1. Third Man On The Moon
2. A Wish For A Fish
3. Counting Horses
4. Major Lance
5. Scatagoria
6. High Noon Amsterdam
7. Corpus Scorpios Electrified
8. Deep In The Hole
9. Roof Of The Shed
10.Shotgun Son
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GIDEON SMITH & THE DIXIE DAMNED
"Southern Gentlemen" [ CD - Small Stone Records ]
At f**cking last!
Gid Smith and his unruly posse have stuck their ugly heads back out of the studio, this gritty disc clenched firmly between the teeth. It's been too long since the band had thrown some of their harddriving rock onto the shiny plastic. So I've been kinda short of alternatives for The Cult's "Electric", The Four Horsemen's "Nobody Said It Was Easy" and Five Horse Johnson's "No. 6 Dance".
But all is forgiven. Here's a bunch of great songs, a good dose of bludeoning riff-o-rama and a couple of shots of bourbon thrown in for good measure.
My speakers have been dusted off thoroughly, right from the first spin. "She Is Venus" and "Draggin' The River" thump around savagely, looking for puny little eardrums to bully and an unsuspecting gut to rip. And they got me - ugh! Can you believe it's sheer fun to be struck over the head with electrified boogie of "Shovelin' Time"? Well it is. And I actually dig being yelled at by the infamous mr. Smith himself. His voice sounds stronger than ever, without losing that soulful tone that makes a less muscular song like "Outerspace Girl" shine brightly.
The production on this one has taken a giant leap forward since their first EP on Game Two, but the true spirit remains. Just as I expected, the band still deliver the most straightforward brand of suvvern rock possible, done with such enthusiasm you simply gotta love 'em.
Tough enough to take a giant block o' flaming dirtrock in the kisser? Piss off the neighbours, get "Southern Gentlemen".
chris
T R A C K L I S T
1. She Is Venus
2. Whiskey Devil
3. Draggin' The River
4. Outerspace Girl
5. Shovelin' Time
6. The Witch's House
7. Immune To Poison
8. Ghost Rider
9. Hello Cigarette Girl
10. Knifedance
11. Wish You Were Mine
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