BEST NEW MUSIC: HANNAH WILLIAMS & THE AFFIRMATIONS – 50 FOOT WOMAN

Hannah Williams & The Affirmations released a new track, “50 Foot Woman”, today (September 13).  This the title track from upcoming sophomore album, following their feature with superstar, Jay-Z, on “4:44”. Born in High Wycombe in Buckinghamshire, Williams’ joined the church choir at the age of six and could read music before she could properly read words.  It was 2016 debut, Late Nights & Heartbreak, the turning point for Hannah Williams & The Affirmations. “50 Foot Woman is an extremely positive song, ultimately about freedom of expression, liberation and empowerment, written about the excitement and anticipation of performing” say Hannah Williams & The Affirmations “the verses convey that hyped up feeling you get before going on stage – those moments can feel like forever, and are really special.” “50 Foot Woman” rolls in with drum before slinking like a cat to soulful guitar and bass.  The latter a bit fuzzy to give a harder edge, some rocking bite. “I’m standin’ on the mountain, about to fall/I’m runnin’ on the rooftops, fifty foot tall” cues tentative playing, bringing the dynamics down only to drums and vocal, only to come crashing back in, again.  “I’m a ten storey building, I’m gonna explode/I’m a pumped up shotgun, with a full load,” again, playing the numbers game. Right in the middle of things she cries defiantly, “I’m breakin’ through the ceiling night after night, so watch me go!”  With the latter exclamation you imagine her shattering glass, fist extended above head like superhero.  She then gets slow, quiet and sensual, talking seductively into the microphone, before wailing at the tops of her lungs.  This fast, loud and sexual.  Like between the sheets for foreplay before the main event.  There and then you’ll never be the same, again. As said, this song demonstrates the ability of Hannah Williams & The Affirmations to write with dynamics in mind, enough to exploit any live show. Not a wall of sound from start to finish but nuances between loud and quiet. The whispers into the microphone definitely a massive contrast to some of the more animated aspects of the track.  Not only that, but there aren’t massive leaps between these dynamics.  There are, actually, middling aspects that bridge these. “50 Foot Woman” is like soul rock.  There’s the sensual aspect, smooth and the ballsy, sex on legs aspect, raucous.  She seems a formidable woman, one to keep you under her thumb and enthralled by her at the same time. Think, perhaps, DiVinyls and their frontwoman, Chrissy Amphlett.  Slightly different genre, but the energy’s all there. This sensual and sexual side shouldn’t detract from her musicianship, but listeners nonetheless like putty in her hands. 50 Foot Woman 1. 50 Foot Woman 2. I Can’t Let This Slip Away 3. The Only Way Out Is Through 4. Tablecloth 5. Sinner 6. What Can We Do? 7. How Long? 8. I Feel It 9. Please Be Good To Me 10. Hourglass 11. Worrying Mind HANNAH WILLIAMS & THE AFFIRMATIONS EURO TOUR! Nov 13 2019 ES, Zaragoza, Sala Lopez Nov 14 2019 ES, Barcelona, Upload Nov 15 2019 ES, Madrid, Clamores Nov 16 2019 FR, Canet en Roussillon, Théâtre Municipal Nov 20 2019 DE, Berlin, Club Gretchen Nov 21 2019 DE, Hamburg, Nochtspeicher Nov 22 2019 DE, Munster, Gleiss22 Nov 23 2019 NL, Rotterdam, Bird Nov 24 2019 BE, Brussels, Botanique Nov 25 2019 NL, Amsterdam, Paradiso Nov 26 2019 FR, Paris, New Morning Nov 28 2019 IT, Turin, Spazio 211 Nov 29 2019 IT, Locomotiv, Bologna Nov 30 2019 IT, Milan, Biko Dec 04 2019 UK, London, Oslo Dec 05 2019 UK, Bristol, The Fleece Dec 06 2019 UK, Manchester, Deaf Institute Dec 07 2019 UK, Leicester, O2 Academy Dec 12 2019 IRL, Dublin, Grand Social Dec 13 2019 IRL, Limerick, Dolan Upstairs Dec 14 2019 IRL, Belfast, The Limelight 2 Jan 28 2020 NL, Nijmigen, Doornroosje Jan 29 2020 DE, Bielefeld, Forum Jan 30 2020 DE, Dortmund, FZW Jan 31 2020 DE, Erfurt, Franz Mehlhose Feb 01 2020 DE, Dresden, Beatpol Feb 02 2020 DE, Leipzig, Noels Ballroom Feb 06 2020 DE, Munich, Feierwerk Feb 07 2020 AT, Dornbirn, Spielboden Feb 08 2020 DE, Cologne, Arttheater Hannah Williams & The Affirmations’ latest single, “50 Foot Woman”, can be bought on iTunes, here. Hannah Williams & The Affirmations’ upcoming album, 50 Foot Woman, can be pre-ordered on Bandcamp, here. Hannah Williams & The Affirmations’ latest album, Late Nights & Heartbreak, can be bought on iTunes, here. Also visit their Facebook, Twitter, Bandcamp, Google Play Music and Deezer pages to keep tabs on Hannah Williams & The Affirmations.

INTERVIEW: MEYHEM LAUREN & DJ MUGGS – COMPARING WITH PREVIOUS COLLABORATORS, ‘MEMBERS ONLY’ EP AND CARS

Photo Credit: KOSTEN Friday (September 6) was the release of second EP, Members Only, from hip-hop duo, Meyhem Lauren & DJ Muggs.  The four track effort was a racing themed tour de force from start to finish and had a variety of soundscapes and lyrical moods.  This a coming together of an awful lot of hard work, having already undertaken EP, Frozen Angels, last year and album, Gems From The Equinox, the year before. The duo comprises of rapper, Meyhem Lauren, 36, from Queens, New York; and producer, DJ Muggs, 51, also from Queens, New York, but moved to Los Angeles at the age of 14. Meyhem Lauren hasn’t only just worked with one production whizz, either. He collaborated with Alchemist for this year’s single, “Still Playing Celo”. DJ Muggs, of course, noted for his production with Los Angeles hip-hop group, Cypress Hill, plus ventures with GZA of Wu-Tang Clan, Grandmasters (2005); and Ill Bill of Non Phixion, Kill Devil Hills (2010).   I spoke with both members of the duo regarding comparing with previous collaborators, Members Only and cars. How does working with Muggs compare with the likes of Alchemist, Meyhem? He was candid, saying, “Working with both of them is always dope. It's a pretty similar process, to be honest. We laugh...eat good...make fire...and keep winning.” How about working with Lauren comparing to the likes of GZA or Ill Bill, Muggs?  “I don’t compare people.  That is stupid,” he said, bluntly. “Each man is his own being with their own vibe and energy. Listen to the music and it will tell you everything you need to know.” Asking the differences between album, Gems From The Equinox, and recent EP, Members Only, Meyhem answered, “It’s shorter, less dark, but equally amazing. Sometimes less is more. I feel like me and Muggs are just getting started. Everything is A1 and will continue to be for a very long time.” Prodding for a similar answer towards comparing last year’s EP, Frozen Angels, and Members Only, Meyhem provided, “It’s closer in length, but has a different vibe. This project is conceptual and Frozen Angels is quite the opposite. Frozen Angels is meant to be listened to while taking a drive or chillin’ on the block with the homies. I wrote the songs on Members Only with intentions of performing them live and hearing them on the radio or at clubs.” When asked about intentions to take this collaboration project further, Heyhem was quite candid. “Much further...I don’t like talking about things prior to the wheels being in motion, but me, Muggs and the good people at CCC [Classic Car Club Manhattan] are about to shake things up in a good way.”

With that, we then launched into an analysis of their EP, both illuminating with their answers for each track.

For example, when I heard opener, “Aztec Snowflakes”, and its Cypress Hill kind of bassline, I couldn’t resist asking if there was a deliberate intention to evoke that sort of sound.  Ominous and jazzy, I pondered. “Muggs actually made that beat originally for Cypress,” Meyhem revealed. “They didn’t use it for whatever reason and I lucked out...that’s how it goes sometimes. I 1000% enjoyed the ominous jazzy feel. I wouldn’t have been able to rap beautifully on it if I didn’t.” “I just sit back and what comes out at that time, comes out – there are no preconceived ideas – it’s all organic and in the moment,” Muggs added.

Moreover, my tuppence worth for subsequent track, “GT3”.  Given the numerous motor racing references, I hastened to ask if they were gamers, at all.  After all, was this track title a reference to racing game, Gran Turismo 3? “Nah, not really,” Meyhem corrected.  “Not much time to play games in the era, but once upon a time I was the King of "Crus’n USA".”

Next track, “Wavy”.  This prompted a question this interviewer was dying to ask.  This was due to a certain lyric in that very song: “Lean in/‘til we leavin’/Birthed your whole style, I’m the reason that you’re breathin’.” How would Meyhem sum up his style, if he had to compare to a mix of others? He quoted a mix of Mobb Deep, Wu-Tang Clan, Kool G Rap, The Notorious B.I.G, Nas and AZ. “That’s what I primarily listened to growing up so it’s a part of my rap DNA,” he added. Regarding EP closer, “Blue Chinese”, I also wondered if, because there are Formula 1 interview samples, if the guys enjoyed that sphere of the sporting world. Indeed, the similarities and differences that they like in both hip-hop and Formula 1 racing.  What I got was a partial quotation of one of his lyrics from that very track, and part philosophical. “I really just wanna do ‘doughnuts in the NSX’ while I reflect on life.” The interview then closed with a question regarding the EP’s artwork, a golden engine.  Had they both amassed either a vintage car or two, maybe even a collection of all sorts of cars? “No vintage cars currently. Once upon a time, I had a ‘63 Continental.  To be honest, I travel so much that I haven’t been too concerned with cars for awhile because I’m never home to drive them,” Meyhem said, flatly.  “But after this project, I’m in love once again. Holla at me in a few months. I’m sure I'll break the bank on something sleek and aerodynamic.” Muggs then closed the interview, replying, “Yes. I have a ‘63 Impala SA 5-speed and a Six Deuce Lincoln.” Meyhem Lauren & DJ Muggs’s latest EP, Members Only, can be bought on iTunes, here. Also visit his Facebook, Twitter, Instagram, YouTube, Soundcloud, Deezer, Google Play Music, TuneIn and website pages to keep tabs on Meyhem Lauren. Also visit his Facebook, Twitter, Instagram, MySpace, YouTube, Spotify, Deezer, Google Play Music, TuneIn and website pages to keep tabs on DJ Muggs.

INTERVIEW: BELOW THE NECK – DEBUT GIGS IN ABERDEEN AND DUNDEE, ‘WASTE OF LIFE’ EP PLUS FRENCH SONG TITLES

Friday (September 6) was an intimate night of hardcore intensity at Musical Vision, the Aberdeen practice room hosting Cork of Ireland band, BAILER, with Inverness melodic and metallic hardcore band, Below The Neck, part of the Friday night support line-up. Rewinding back to that very day, there also was the release of the Below The Neck debut EP, Waste Of Life.  The four track effort was intense from start to finish and even had a string, almost choral introduction written by Sean Boa.  This a coming together of an awful lot of hard work, having already undertaken big live slots, like ForresFest V: Friday and ForresFest VI: Friday. The five-piece comprises of vocalist, Thomas Woolley, 24, from Culbokie; guitarist, Conor Hedges, 22, from Inverness; guitarist, Rory Troup, 26, from Pitlochry; bassist, Johnny Fowler, 24, from Inverness; and drummer, Finnbar Connell, 29, from Nairn. I spoke regarding debut gigs in Aberdeen and Dundee, Waste Of Life plus French song titles with vocalist, Thomas Woolley. Big fans of BAILER?  Thomas was unequivocal, saying, “Absolutely, Finn originally introduced them to us last year, ever since we’ve been throwing down to them so it’s been a great experience to finally meet them all and play alongside them.” We then went into more detail about the Aberdeen gig at Musical Vision.  “The show went great, the venue had this awesome side room with a clear screen so if you wanted to just kick back and stay out of the madness you could! We have a lot of good friends from down that neck of the woods too so it’s always good to catch up with them and play alongside them,” he said. Venturing that perhaps that Aberdeen crowds are more reticent than others, like their visits to Inverness (NeckFest) and Dundee (Conroy’s Basement), Thomas answered, “The Aberdeen crowds were great, I’m pretty sure I saw every person that attended throwing down/moshing which was amazing, even when we played NeckFest, those that travelled from Aberdeen still brought that same energy with them which was great to see!” Prodding for an answer towards what was the better debut between Aberdeen and Dundee, Thomas remained quite diplomatic, liking each for differing reasons:  “Y’know I honestly can’t decide, they were both memorable for different reasons. Aberdeen was the first show so we were all insanely pumped to be playing a live show again with some of the best bands around. Dundee was the climax of the weekend, we were all gutted it was over so in order to give it a proper send off all of the bands gave it everything they had!” When asked about the intimacy of a gig in a practice room, like Aberdeen’s Musical Vision, Thomas offered an answer that finally indicated some sort of preference towards these more reserved shores.  Prefer it small and intimate, like Musical Vision; festival crowds, like NeckFest, or regular sized venues, like Conroy’s Basement? “Intimate for sure.” Thomas said.  “There’s a sense of inclusiveness and togetherness that you don’t get at barrier shows, we want everyone to feel included and to have a good time, what better way to do it than to join them in the crowd?” Regarding these intimate shows, was it a little more scary than normal, especially when up close and personal with animated, moshing crowds? “It can definitely be quite intimidating at times, people are passionate and show it in different ways, some people like to mosh and some prefer to just sit back and enjoy the music,” Thomas reasoned.  “Whatever the preference, it’s done as a collective and there’s a mutual respect and understanding because everyone in that room shares the same passion.”

With that, we then launched into an analysis of their EP, and Thomas was kind enough to offer an insight into each track without poo pooing any interpretation I had of them completely out of hand. For example, when I heard the “Intro” and its funereal vibes, I thought this was some sort of comment towards losing someone in the family.  What a waste of life, I wondered. “Not quite, the EP isn’t necessarily about mourning, more about calling out those who you can call ‘a waste of life’ and moving on from it,” Thomas now transforming my interpretation from something mourning to something more incandescent with anger, and proclaiming it from the rooftops. The knifing strings suggested intrigue, like being stabbed in the back. “Hmm, I’ve never really thought about it as that, but it definitely would tie in with the theme! When we were talking about the intro track we wanted this epic composition that immediately takes you straight into a hard hitting track, the string section gives it that effect of as you say, betrayal,” Thomas said. 

Moreover, my tuppence worth for title track, “Waste Of Life”.  I noticed talk of secrets in the lyrics.  Is this waste of life the secrets someone, perhaps recently deceased, has taken to their grave? “Not just the information itself, but trusting people with what you hold dear just to have them throw it straight back in your face,” Tommy clarified. Things then switched to the song’s talk of patience, or lack of.  I wondered if this was exploring the point to which someone would lose their patience before, ultimately, maybe even killing someone. “Some people are just not worth the time nor the energy, being around someone who’s toxic and untrustworthy,” Thomas edified.  “It’s a waste of your life being around them, and to be blunt, some people are just a waste.” Next track, “Twelve”.  This, perhaps, the point at which I was clutching at straws most in terms of my analysis.  The age of death? “Twelve is just a straight up call out, we wanted to write a fast hard hitting song that people can move to, we always think of live performances when it comes to our music.” Regarding the track, I also wondered if there was a theme of a waste of life being something constituting dying before coming of age, a teenager. “Actually most of the experiences/themes would come from later on in life rather than earlier!” The interview then closed with a couple of questions regarding EP closer, “L’appel Du Vide”.  Here Thomas explained why the track was given a French song title. “I believe that’s the original phrasing so I wanted to keep it that way, gives it a little more depth too,” he explained.  “Plus it almost forces people that are curious who may not know the meaning to look into it understand the topic/song more.” Is this suicide beckoning, translated into “The Call Of The Void”, into the void another waste of life? “Not suicide, ‘L’appel Du Vide’ explores the mental state of struggling with these intrusive thoughts, being fully aware that’s all they are but still being unable to come to peace with the matter and going through a path of self-destruction,” Thomas said, tellingly.  “Ultimately the song ends the thoughts being too much.” Below The Neck support Dayshifter on November 16 (Opium, Edinburgh) and November 17 (The Tooth & Claw, Inverness). Below The Neck’s latest EP, Waste Of Life, can be bought on iTunes, here. Also visit their Facebook and YouTube pages to keep tabs on Below The Neck.

REVIEW: MEYHEM LAUREN & DJ MUGGS ARE MEMBERS ONLY ON NEW EP

Meyhem Lauren & DJ Muggs brace for the release of second EP, Members Only, today (September 6). The hip-hop duo have already released their debut, Gems From The Equinox, in 2017 with EP, Frozen Angels, out last year. August 14 saw the official video for leading single, “Wavy”, drop.  Yesterday (September 5), the day before release, was a launch party hosted by Classic Car Club featuring the duo and some special guests, and daresay influenced by the below car visuals.  This in line with September 5 music video, “GT3”. Aswell as having worked with Meyhem Lauren, Muggs has also worked with the likes of GZA from Wu-Tang Clan and Ill Bill of Non Phixion.  The Cypress Hill producer and deejay isn’t the only big name Lauren has worked with, either; take Alchemist, for example. The singles for the project are, so far, “Wavy” and “GT3”. The opening track, “Aztec Snow Flakes”, sets the scene.  This pulses with intrigue before conspiring Cypress Hill bass and jazzy drum takes hold.  The raps boastful and commanding, big voice for a big man.

“GT3” doesn’t mess about, wading right into a seeming gaming reference.  This acapella, the roar of the engine the only soundscape.  Then steady drum and intermittent bass weave a sparse groove. “Racin’ but I’m tryin’ to top my own records/It’s like liftin’ weights tryin’ to rock my own necklace,” a notable one.  The engine revs getting louder and louder.  Things quieten so you can focus on the bassline and voice samples.

“Wavy” has heavenly voice chopped into an oldschool vibe, adjoining with booming drum.  This emphatic, yet the rhymes quite nimble and on the toes. “Lean in ‘til we leavin’/Birthed your whole style, I’m the reason that you’re breathin’” like braggadocio of a modern LL Cool J.  Sirens signal the end of the rapped verses, giving way to voice samples pertaining to fast cars and the fast life. Closer is “Blue Chinese”.  This rings ominous of piano, keys clanging with much resonance.  “I don’t have to front, I’m very confident/If opposition actin’ out of order, I’m on top of it” has his voice embellishing that deathly backdrop. Then you’re invited to hear, probably, the most telling voice sample of the entire EP. “Your first victory since the 2009 Belgian Grand Prix, tell us about your emotions at this time?” “Not much, really.” This a members only victory?  Cold, calculated and frosty without losing your composure, the latter surely important when it comes to Formula 1 racing. Maybe Heyhem Lauren and DJ Muggs, apply this to their musical endeavours.  Not just there to defeat, but beat emphatically.  Maybe those ominous keys like a warning to opposition, rather than any fear on their part. After all, convey any semblance of fear in hip-hop and you’ll get swallowed whole completely. All the tracks on Members Only particular highlights are “GT3”, “Wavy” and “Blue Chinese”. This effort proves Meyhem Lauren & DJ Muggs to be consistent. Indeed, the only reason “Aztec Snow Flakes” doesn’t feature is because it feels like an introductory track.  Yes, it serves its purpose, thematically, but could’ve been lengthened a little bit.  One might wonder how it’ve worked being a standard song length.  Other than that, not much to nit-pick, as such. Meyhem Lauren & DJ Muggs, indeed, are a team to be reckoned with.  You can, generally, see how well they bounce off eachother.  In other words, the right raps for the song and vice versa.  They’ve already established their chemistry, now’s the time merely to reinforce.  Let’s hope there’s more to come from the duo.  A dalliance in collaboration can only grow stronger with more time.  Meyhem Lauren & DJ Muggs’s latest EP, Members Only, can be bought on iTunes, here. Also visit his Facebook, Twitter, Instagram, YouTube, Soundcloud, Deezer, Google Play Music, TuneIn and website pages to keep tabs on Meyhem Lauren. Also visit his Facebook, Twitter, Instagram, MySpace, YouTube, Spotify, Deezer, Google Play Music, TuneIn and website pages to keep tabs on DJ Muggs.

PREVIEW: CANDY SAYS WITH SUPPORT AT THE CELLAR SEPTEMBER 13, 2019

If you want something to do this Friday (September 13) then come along for an evening of various genres of music. In fact, so many sounds to cram into one night, and from only three acts, at The Cellar in more or less the Aberdeen City centre. In partnership with Punch Face Champion Promotions. 19:30-23:30, £5 tickets at the door. The line-up will feature:   Headliners, Candy Says.  They’re an electronic pop trio from Oxford. Two of their songs were featured in Close (2019) on Netflix.  EP, You Are Beautiful; We Are All Beautiful, is out now on Beanie Tapes. Main support, Romarzs.  They’re an Edinburgh pop duo, who formed in November 2016.  They spent a year writing and recording their debut album, Prisoners Of Love, which was released in 2017. The night’s openers, AutoHuman.  They’re an Aberdeen based four-piece group with eclectic influences ranging from jazz to punk and everything in between. Click, here, for more information. Candy Says’ latest EP, You Are Beautiful; We Are All Beautiful, can be bought on iTunes, here. Also visit their Facebook, Twitter, Instagram, YouTube, Bandcamp, Soundcloud, Spotify, Deezer, Google Play Music, SongKick, BeanieTapes and website pages to keep tabs on Candy Says.

REVIEW: BELOW THE NECK DECLARE WASTE OF LIFE ON NEW EP

Below The Neck brace for the release of debut EP, Waste Of Life, today (September 6). The Inverness outfit are a melodic and metallic hardcore five-piece made up of vocalist, Thomas Wooley; guitarists, Conor Hedges and Rory Troup; bassist, Johnny Fowler; and drummer, Finnbar Connell.  As the genre descriptors suggest, these guys are brutal yet they’re so much more than mere brutality. Along with this, they’re also supporting fellow metallic hardcore, Cork of Ireland four-piece, BAILER.  This taking place Aberdeen, at Musical Vision tonight (September 6).  This the same day as today’s aforementioned EP, so give it a listen before heading off to see them in their support slot later tonight. Tomorrow (September 7) they head back up to Inverness, at The Tooth & Claw for NeckFest.  The day after (September 8) is Dundee, at Conroy’s Basement. This supporting the guys from BAILER in not only just Aberdeen, but Inverness and Dundee, too. They’re also hitting the road with Dayshifter on the Scottish dates of their winter tour. They count off Opium in Edinburgh on November 16 and The Tooth & Claw, again, on November 17. Recording and mixing was handled by A-COG (Andy Coghill) of Inverness, with Perth’s John Harcus mastering.  Sean Boa wrote, performed and recorded the introductory track. The singles for the project are, so far, “Waste Of Life”. The opening track, “Intro”, is grave. Almost sad, but an underlying threat seems to develop.  Choral vocal comes, haunting.  Knifing strings come from out of nowhere, then dissipate.  This, however, is only the start of the nightmare.

“Waste Of Life” doesn’t mess about, wading right into the nightmare. Chugging guitar refrain hints at the upcoming epic.  This swaggers with a jump in tempo.  Then after that, just slamming.  Hits of guitar, drum and bass toll the bell and it’s, indeed, epic. The bass then drives, thick as a tree trunk and right to the gut.  Lead guitar melody foreboding and slithering like the snake that cast Adam and Eve out of the Garden of Eden.  “Waste of life” punctuated with syllables extended to bring out the emphatic, the last breath before becoming a corpse and returning to the earth. “Twelve”.  This slams, almost grooving.  Impossibly low.  The discordant guitar and bellowed vocal as one before machine gun bass shoots to barren territory. The deathly guitar then jabs, obliterating all before pulsing for a fadeout. Closer is “L’appel Du Vide (The Call Of The Void)”.  This rings in with the feel of emotionally taut.  Melodic, tribal drum brooding and the guitar chords ringing out.  This then, slung low, has an air of triumphant about it.  Then things gallop with immediacy, urgent.  Frustration as he proclaims, “Set me from all these lies.”  A real fighting spirit to see the day through.  Syncopated hit of drum and strum of thick chord, jarring, with every punch landing. “You’d be better off dead,” screamed through clenched teeth. With that, the emotionally taut lead guitar melody is swapped for smashing brutality.  Like Corey Taylor, of Slipknot, at his most angry.  Real aggression, both hoarse of throat, guttural and low plus screaming like an almost demonic falsetto Rob Halford, of Judas Priest. All the tracks on Waste Of Life particular highlights are “Waste Of Life”, “Twelve” and “L’appel Du Vide”. This effort proves Below The Neck to be brutal with a degree of sophistication about it. Indeed, it’s violent from start to finish with enough dynamic shifts to keep you interested.  Yes, the choral vocals and strings at the start are a major departure from their sound but it works, thematically. One might wonder how it’ve worked in a live band scenario, or embellished so. Below The Neck, indeed, are a good mix of simplicity and complexity.  You can, generally, bounce to their riffs in a nu-metal sort of way yet, these are planned and crafted in a way that’s staggered.  In other words, they do things, it seems, with a live crowd in mind, much satisfaction from how a gathering might react to their riffs.  Guitar music to incite wild times. Below The Neck’s latest EP, Waste Of Life, can be bought on iTunes, here. Also visit their Facebook and YouTube pages to keep tabs on Below The Neck.

MUSIC VIDEO: SON OF JOHN – COUNTRY PURE

There’s a brand new video from Son Of John for track, “Country Pure”, out yesterday (September 4).  A preview of their forthcoming album, Javan Johnson and dad, Johnny P. Johnson, formed in 2017 as a passion project. Javan’s fiddle and mandolin and Johnny’s harmonica bring together folk, roots, blues and bluegrass.  Javan was a 2018 nominee for Fiddle & Mandolin Player of the Year, Johnny frontman of Nineties bands, nerV and Midnight Harvesters. “When you see the title Country Pure you might think of cowboy culture or certain stereotypes of country music — farms, trucks, beer, blue jeans,” says Javan. “But the song is more about those people that wear boots and jeans in the middle of downtown Vancouver. They may have left the country for whatever reason but they’re authentic in the way the dress and act — their heart is still where they’re from — and that’s really the essence of the song. “We’re country boys — my dad grew on the farm in rural Saskatchewan, and I grew up on an acreage by the river in B.C.,” he continues. “Even though it doesn’t sound like the songs on country radio — I don’t think you can deny that our music is country. We make music that’s authentically us — and that’s what being country pure is all about. “We really wanted to capture that as best we could in the video. The song describes a man that works as a mechanic, and he’s the type of man that ‘shakes hands, win or lose.’ So, the concept of the video was born with that line specifically in mind. We were initially hesitant about having a love interest, since the song doesn’t make any reference to it, but we felt the two leads portrayed a relationship that really exemplifies the authenticity of the song.” “Country Pure” has the intrigue of fiddle, though swapping high seas for perhaps barren landscapes, a poor harvest. The thump of double bass and drum emboldened, propelling forward.  Fiddle takes centre stage and it’s beautiful.  “If you’ve got some trouble, with those cars/He’s there right away, no foolin’ around” tells the story mentioned above. The sustain of the fiddle as the song fades out is as strong as the will of the dirty handed, honest mechanic. The video, directed by Jacob Harris, goes between a live performance of the band plus the story told alongside.  Perhaps said mechanic is in that same bar the band play in, at one point.  In fact, Johnny also seems to be playing barman, so it’s hard to say.  Country girl in need of car help is suitably serviced in the automotive realm of things by her knight in shining armour, the best mechanic, “for miles and miles.”  Indeed.

Son Of John’s latest single, “Country Pure”, can be bought on iTunes, here. Also visit their Facebook, Twitter, Instagram and website pages to keep tabs on Son Of John.

REVISIT: SOUNDGARDEN WERE LOUDER THAN LOVE THIS DAY IN 1989

Seattle grunge band, Soundgarden, released their major label debut and second album, Louder Than Love, which first came out today (September 5) in 1989, released via label, A&M. Apparently the album title was a pop at metal bands. “Hands All Over” and “Big Dumb Sex” created retail and distribution problems.  Thus the parental advisory sticker on the album’s packaging. Despite this, it still peaked at 108 on the Billboard 200 in 1990. Bassist, Hiro Yamamoto, actually left the band to return to college. Apparently, he left frustrated at the amount of his creative input. “At the time Hiro [Yamamoto] had excommunicated himself from the band and there wasn’t a free-flowing system as far as music went, so I ended up writing a lot of it,” vocalist, Chris Cornell, said. Cornell added it, “...was just a few degrees too produced and too clean, although I wouldn’t want to change any of it.” Jason Everman, formerly of Nirvana, replaced Yamamoto before being sacked himself mid-1990. Metallica guitarist, Kirk Hammet, was inspired to write the riff to “Enter Sandman” after listening to Louder Than Love. Guns N’ Roses put “Big Dumb Sex” as part of a medley on covers album, The Spaghetti Incident? Singles for this album were “Loud Love”, “Get On The Snake” and “Hands All Over”. First, there’s the “Ugly Truth”. The drums hit ominously before hitting discordant of guitar.  The bass weaving, then the guitar following suit.  The wailing of Cornell lending a more epic feel.  The groove just creeps along. “Ugly isn’t what I want to see/I painted my mind, ugly isn’t what I want to be” the middle section searches, guitar crying out. Then a weird chorus effect embellishes Cornell’s vocals.  Creepy. “If you’re not mine to give” bellowed at the top of his lungs.  Guitar then clamours for volume, the chorus effect returning.  As does the creeping groove, Black Sabbath seemingly invoked.  

“Hands All Over” is about to be how humans defile the environment.  The bass ascends in slide as an almost Eastern passage comes before going headlong into the riff established by said bass.  For the verse this pares back slightly, guitar still cutting sharp but the vocals plenty of room to breathe.  Then the guitars grow impassioned, a bit like what “Even Flow” by Pearl Jam would pan out to be, latterly.  “Put your hands away” obviously a nod to the raping hands of man upon said environment. “Gun” opens with drum and then onto a really monstrous riff, snatching for that firearm.  No happy story.  “I got an idea of something we can do with a gun, sink load and fire/‘til the empire/Reaps what they’ve sown” confirming this. Things seemingly build in speed, the threat of being shot increasing.  They’ve found the drawer it was kept in, pacing through the house maddened. There’s another step up in tempo, this time undeniable.  As is the latter slowing, “Oww, oww” like the bullet piercing flesh and bone. There’s someone getting too big for their boots in “Power Trip”.  It’s bass centred, the guitar adjoining for a doomy feel.  Cornell almost relaxed, yet still no doubt lyrically dark.  Guitar wailing for freedom only to lock into that deathly vibe, again.  “So maybe now the Pope will bow and kiss my ring” a power trip, you could say. On a Mafioso scale.  “I want to be king” more so?

Following track, “Get On The Snake”, featured on 1989 film, Lost Angels, was eventually given the video treatment in 2010.  This wades in, no messing about, straight as a sharpshooter. Angular and grating before developing into a mighty, almost funk style riff.  Sliding into each note like a precursor to Pantera changing tack round the following year or so.  The bass and drum refrain lends a moody and brooding dimension to things, dynamically apt. Everything adds incrementally before reaching a raucous end. Then “Full On Kevin’s Mom” is, a bit predictably, about a friend who slept with another friend’s mother.  This as fast and immediate as premature ejaculation. A completely different sound from all that preceded it.  Fast on an almost thrashy level.  Punk, even. Night crawler riff, and speedy with it. It teases to slow down before a quite intermittent yet eloquent solo.  “We don’t come round, anymore.”

“Loud Love” featured on 1992 film, Wayne’s World.  It opens with sole guitar crying out before leading the band with a sort of Kyuss desert, stoner riff. Building an atmosphere, sonic bed upon which to lay foundations.  “Well I know/But that’s no way to go” like seeking an oasis when there’s no sight of water from even the tallest of peaks.  The riffs bend and bend for the sake of the groove before, “I want something to explode; I’ve been deaf, now I want noise.” “I Awake”, now.  The lyrics were originally part of a note written by Yamamoto’s then girlfriend, Kate McDonald.  This had an urban legend about it that circulated the internet at the tail end of the Nineties.  This stated that Yamamoto, after writing the music, wrote some lyrics on the back side of McDonald’s note. When Yamamoto gave the paper containing these lyrics to Cornell, Cornell looked at the wrong side of the sheet and believed McDonald’s note was the lyrics to Yamamoto’s song. Anyway, the song begins eerie, wayward and guitar harmonic shattering like glass.  This one truly menacing, hopeless and desolate.  “Woke up depressed, I left for work/You have a good day, good day; it’s not my fault, I know it hurts” hammering this in as much as the instrumentation itself.  The almost pattering of drum given space to ring out and reverberate.  The bass given these punctuated pockets enough for the bass to hit out, too. Then posing questions in “No Wrong No Right”.  It has tribal hit of drum, bass and guitar ringing out with a sense of perpetuity. The seemingly chorded bass establishes a melodious groove, as the guitar cuts in and out.  This all adding extra emphasis to Cornell’s vocals.  “It’s all the same in the end” like the sometimes blurred line between wrong and right. “Weaves a web above your bed/Egg that cracks falls on your head” further displaying the maze you run trying to play it right.  Right and wrong, “It’s all the same.” You’re struggling to find your bearings amidst the “Uncovered”.  This opens with quite sedate guitar, the bass the only hint at grit.  At least for a little while. “Nowhere to hide, and really no reason why” almost not fussed, everything met with indifference.  Things jar harmonically before a more searching section, before more choppy palm muting corrodes with, finally, some grit. “Big Dumb Sex” is actually a parody of glam metal bands addressing sex metaphorically, this electing to denote than connote.  Big dumb riff amidst ambience before cyclical, yes, grooving riff.  “I know what I’m gonna do/I’m gonna f*ck you” really taking a pop at those glam metal rockers.  Things quieten slightly before some more big dumb sex. The album closes with a “Full On (Reprise)”.  This feels like a real attempt to search outwith any sounds established earlier in the album.  It has an almost tumbleweed, American outback kind of vibe, before some gnarly lead guitar closes the album. All the tracks on Louder Than Love worthy highlights are “Ugly Truth”, “Hands All Over”, “Power Trip”, “Get On The Snake”, “Loud Love”, “No Wrong No Right”, “Uncovered”, “Big Dumb Sex” and “Full (Reprise)”. Soundgarden’s Louder Than Love can be bought on iTunes, here.

MUSIC NEWS: JOE GOODKIN SET TO RELEASE PAPER ARROWS ALBUM ON OCTOBER 11

Joe Goodkin braces for the release of his latest album, Paper Arrows, on Friday, October 11. Joe Goodkin is a lifelong musician who is known for his larger scale concepts. At the beginning of the Naughties, he found inspiration in his university degree in the Classics.  Invoking the spirit of the ancient Greek bards, Goodkin deconstructed The Odyssey, by Homer, and re-structured it for acoustic guitar and voice. Part lecture, part musical performance, and part interactive discussion, the centrepiece of his program is a thirty-minute continuous performance of twenty-four original songs with lyrics inspired by Odysseus and his famous exploits. The piece turned out to be so popular that he is now approaching three hundred shows in thirty-nine US States. In 2015, Goodkin came up with an idea for releasing a trilogy of interconnected albums over two years:  Record Of Life,  Record Of Loss and Record Of Love. The series of EPs (totalling eighteen songs) established Goodkin’s reputation as an important songwriter known for his honesty and emotionally affecting lyrics. “People like the honesty with which I approach my lyrics and the fact that I’m not afraid to write about difficult subjects (divorce, suicide, aging),” he notes. Goodkin’s latest album, Paper Arrows, takes its inspiration from the Chicago indie-pop band he founded in 2008, Paper Arrows.  The album is made up of sixteen songs:  ten are songs he previously recorded and released under the name Paper Arrows (with a rotating group of musicians), and six are new songs that he’s never recorded and released.  “When I toured my Record of… releases, I played some of my older Paper Arrows songs in new solo arrangements and was pleasantly surprised at the response of the audience,” he explains.  “I decided I wanted to try to capture these new versions in a solo format and connect my recent material to the first part of my music career.” On Paper Arrows Goodkin has the music pared down to his voice and two instruments he uses alternately:  a 1962 Gibson acoustic and a Mule Resonator Guitar (#430).  Comparing the trilogy with the new album, Goodkin describes the differences, “The trilogy was very meticulously produced with layers of guitars.  This is all live, single takes with no overdubs and no editing. The lyrics for the trilogy were very specific and narrative and very vulnerable in the material, and these are broader. I wanted to try to create a recording where the vulnerability was in the performances. I was very influenced by listening to the Blood on the Tracks alternate takes which contain a lot of single live in the studio takes of just Dylan playing and singing.” The self-produced Paper Arrows was recorded and mastered by Shane Hendrickson and was tracked in Chicago in a small studio space in Humboldt Park, Sync Studios. The opening song, “Tell The Kids” is a Paper Arrows’ song from 2012 (“Days Of Getting By”).  A song about divorce, Goodkin reflects that, “In the end everyone loses everyone/Our castles come undone.” The album then moves into a new song, “Every Light Is A Fire”.  “This song captures the spirit of the record,” said Goodkin.  “I’ve gone far but come back to the start of my musical career, the older songs on this record.” “Look Alive” is another Paper Arrows song (“Look Alive”, 2008) but the arrangement is wildly different from their version.  “Different key, different feel,” said Goodkin. “This song in a lot of ways pushed my musical path to the Paper Arrows name for almost a decade and changed the way I wrote music.” “Light Out” (Paper Arrows, “Days Of Getting By”, 2012) was largely a piano song on the Paper Arrows release.  “The line ‘I was left knee deep in the water and trying to catch your tears’ is my wife’s favorite I’ve ever written,” Goodkin notes. “Something Worth Fighting For” is a new song in 6/8 time and is the lyrical conclusion of the span of the record.  “The lyrics, ‘Came through doubt and pain to love and make something worth fighting for’ as in the music on this record,” explains Goodkin. Goodkin’s willing to write about things that others don’t as readily and sees opportunities for material in strange places. This makes people assume that he’s a dark person.  “I’m not,” he said, “I get it all out in the music and I’m generally able to be positive in life.” “I think my music demands patience and multiple listens which is a lot to ask of someone,” he realized. “I appreciate anyone who will take the time to really dig into what I do.” Paper Arrows 1. Tell The Kids 2. Every Light Is A Fire 3. Look Alive 4. Things We Would Rather Lose 5. Lonesome Sound 6. Once And For All 7. Resurrection 8. The Counting Song 9. One Hundred Songs 10. Why We Work 11. Light Out 12. Almost Gone 13. Lightning 14. December Static 15. Watching The Time 16. Something Worth Fighting For Joe Goodkin’s previous EP, Record Of Life, can be bought on iTunes, here. Joe Goodkin’s previous EP, Record Of Loss, can be bought on iTunes, here. Joe Goodkin’s previous EP, Record Of Love, can be bought on iTunes, here. Also visit his Facebook, Twitter, Instagram, iTunes, Spotify, Soundcloud, YouTube and website pages to keep tabs on Joe Goodkin.

MUSIC NEWS: MEYHEM LAUREN & DJ MUGGS SET TO RELEASE NEW ALBUM FRIDAY

Meyhem Lauren & DJ Muggs brace for the release of second album, Members Only, on Friday (September 6).  The hip-hop duo have already released their debut, Gems From The Equinox, in 2017 with EP, Frozen Angels, out last year.

August 14 saw the official video for leading single, “Wavy”, drop.  Tomorrow (September 5), the day before release, is a launch party hosted by Classic Car Club featuring the duo and some special guests, and maybe influenced by the above car visuals. Aswell as having worked with Meyhem Lauren, Muggs has also worked with the likes of GZA from Wu-Tang Clan and Ill Bill of Non Phixion.  The Cypress Hill producer and deejay isn’t the only big name Lauren, jesting as their fourth member, has worked with, either; take Alchemist, for example. Meyhem Lauren & DJ Muggs’ latest album, Gems From The Equinox, can be bought on iTunes, here. Also visit his Facebook, Twitter, Instagram, YouTube, Soundcloud, Deezer, Google Play Music, TuneIn and website pages to keep tabs on Meyhem Lauren. Also visit his Facebook, Twitter, Instagram, MySpace, YouTube, Spotify, Deezer, Google Play Music, TuneIn and website pages to keep tabs on DJ Muggs.

MUSIC VIDEO: BELOW THE NECK – WASTE OF LIFE

There’s a brand new EP teaser from Below The Neck via title track, “Waste Of Life”, out today (September 1).  This taken from Friday (September 6) EP, Waste Of Life.  That same day, later that night, they support Cork of Ireland hardcore titans, BAILER.  This taking place at Musical Vision, Aberdeen. They’ve already undertaken big live slots, like ForrresFest V: Friday and ForresFest VI: Friday. “Waste Of Life” wades in, unrelenting. Then chugging guitar refrain, bass and drum hitting syncopated for an epic feel.  The guitar rings out, but not for long. Eerie melody rings amidst breakdown and desolation.  Things almost come to a shuddering close before dragging bass forces a search led by lead guitar melody, high register chords and wayward riff.  Growing slamming and emphatic, ending slow and traipsing that territory between ceremonious and unceremonious. The video’s a slightly animated version of the cover for the EP.  The light ominously flickers with a black and white band performance either side of the EP artwork. This as if the band attempts to scale those what seem prison walls.  Will that light stop flickering at the first sign of blood, with the possibility that loss of blood, goring, will result in death? This a waste of life, trying to scale that fence and escape.

Waste Of Life 1. Intro 2. Waste Of Life 3. Twelve 4. L’appel Du Vide Also visit their Facebook and YouTube pages to keep tabs on Below The Neck.

BEST NEW MUSIC: TERRA NØVA – DECORATED BY YOU

There’s a brand new single from Aberdeen band, Terra Nøva, called “Decorated By You”, out today (August 31).  They’re an ambient alternative rock four-piece made up of vocalist and rhythm guitarist, Shaun Will; guitarist, Joe Birnie; bassist, Nathan Bain; and drummer, Chris Van Del Wal.  As the genre descriptors suggest, these guys pack a punch; but they’re melodic with it, too.  They know when to be clever, but also when to unleash the right dumb riff, also. Indeed, atmospheric as evidenced on their debut EP, Euphoric.  They mix shoegazing elements, atmospheric with choppy chords inspiring football chants live.  Wild lead playing revelatory for a quite sedate genre.  Recent (March 24) Grampian’s Got Talent finalists, too.  They also completed a double headline tour with Fraserburgh’s Bleach HCP in April. They support Ellon’s Glass Monkey Friday (September 6), plus Fraserburgh’s Dude Trips and Brighton’s All Better Saturday, September 28. “Decorated By You” fades in, guitar delicate and grave.  Cacophony of guitar and drum announces itself triumphantly, another one probably at home on the football terraces.  Lead guitar so mighty, punching in the air yet subsequently pent up full of doubt.  “The moment was intoxicating/I want you to know you’re amazing, darling” sets the scene to this particular dedication.  This gives way to intermittent riffing, hi-hat industry on the drum like a frenetic kind of jazzy feel. This then grows intense with some high register licks like an explosion of said pent up energy.  “I’m a firm believer that everything happens for a reason” the philosophy.  All then slows, cuing hook, “I was so infatuated/My heart was decorated, by you.”  Then the tempo builds up, and bass ascends only to go low, the perfect companion to a wild, young love solo.  Really impassioned. “Darling” fades out with the rest of the instrumentation. Darling, decorated by you. As said, this song demonstrates the ability of Terra Nøva to write emphatic, anthemic songs.  In fact, it’s on par with a personal favourite, their barnstormer “Oregon”.  This is for those late summer nights, when the dark’s not perpetual but a noticeable change in the day.  There’s definitely the desire to see how this pans out in the live setting, even though this very song seen before.  Going into that with new eyes and ears, now that the song’s been poured over at length. “Decorated By You” basically’s the soundtrack to meeting new people, young love and even the start of something lasting into maybe even the autumnal years.  When the football terrace bit comes in, you instinctively know what comes will be monumental.  No, it’s not crushingly heavy metal, but it’s close. Think, perhaps, “Babe I’m Gonna Leave You” (1969) by Led Zeppelin.  A hard rock edge, to daresay.  Certainly welcome, and certainly works as best new music. Terra Nøva’s latest track, “Decorated By You”, can be bought on iTunes, here. Terra Nøva’s Euphoric EP can be bought on iTunes, here. Also visit their Facebook, Twitter, Instagram, Spotify and Deezer pages to keep tabs on Terra Nøva.

MUSIC NEWS: INVERNESS’S BELOW THE NECK SET TO RELEASE NEW EP ON SEPTEMBER 6

Below The Neck brace for the release of debut EP, Waste Of Life, on Friday (September 6). The Inverness outfit are a melodic and metallic hardcore five-piece made up of vocalist, Thomas Wooley; guitarists, Conor Hedges and Rory Troup; bassist, Johnny Fowler; and drummer, Finnbar Connell.  As the genre descriptors suggest, these guys are brutal yet they’re so much more than mere brutality. Along with this, they’re also supporting fellow metallic hardcore, Cork of Ireland four-piece, BAILER.  This taking place Aberdeen, at Musical Vision on Friday (September 6).  This the same day as the release of aforementioned EP, so give it a listen before heading off to see them in their support slot later that night. Title track, “Waste Of Life”, is due for YouTube release Sunday (September 1). Waste Of Life 1. Intro 2. Waste Of Life 3. Twelve 4. L’appel Du Vide Below The Neck’s Waste Of Life will be on all major streaming platforms aswell as being available to purchase digitally and physically. Also visit their Facebook and YouTube pages to keep tabs on Below The Neck.

PREVIEW: BAILER WITH SUPPORT AT MUSICAL VISION SEPTEMBER 6, 2019

Many local acts have rehearsed at Aberdeen’s Musical Vision practice rooms, pretty much one of the top places for them to hammer out material.  It’s a real hub of the Aberdeen music community, and occasionally hosts gigs like this coming Friday (September 6).  This to celebrate headliner, BAILER, and the release of latest single, “Crawl Back”, March 24 video below.

19:00-00:00, £5 tickets at the door and 18+ gig. The line-up will feature:   Headliner, BAILER.  The Irish hardcore titans bring their mayhem to the North of Scotland. Fresh off supporting the likes of The Black Dahlia Murder and Conjurer, the band are absolutely on fire and aforementioned latest single, “Crawl Back”, shows that there’s little sign of them slowing down. Main support, Bitterwood.  Frenetic post-hardcore from Aberdeen. Kids just want to dance. Not a band to miss. Below The Neck, another North of Scotland band.  Melodic and metallic hardcore from Inverness with an impressive and energetic live show, the band will be making their debut in the Granite City.  They release their EP, Waste Of Life, earlier that day, too. Third visitor to the city, Slept On.  Hardcore from Glasgow with their first appearance in the Granite City, too. Lashing Out, violent slamming beatdown from Aberdeen playing a rare hometown show.  This set will be violent, not for the faint of heart. Plus a secret set from a band opening the show. Click, here, for more information. BAILER’s latest track (March 22), “Crawl Back”, can be bought on iTunes, here. Also visit his Facebook, Twitter, Bandcamp and Spotify pages to keep tabs on BAILER.

PREVIEW: ‘HEAVY RESISTANCE MINI-FEST 2019’ AT THE SHACK; SEPTEMBER 7, 2019

Heavy Resistance Mini-Fest 2019 is the first of its kind and takes place on Saturday, September 7 at The Shack with an evening of music, aswell as things like face painting, a festival photo booth, an indoor campfire, free pizza, a festival market and a ball pit. First, two stages of live music, electric and acoustic.  Then, after that, two rooms of rock, metal plus alternative and post-hardcore, punk plus alternative. So many acts over a matter of hours for what’s essentially an indoor music festival.  Music begins around 19:20 and ending around 23:00.  Click any act to be taken to their Facebook page: STAGE 1 Topping the bill for the first stage is Purgatory, a metalcore, hardcore and deathcore five-piece with a wide variety of music, so there’s something for everyone. Whether you like emotive songs, fast riffs, heavy breakdowns or crowdkill hardcore tracks, you’ll find something you love. Prior to that’s CadHeart, heavy alternative rock and metal five-piece, featuring female lead vocals, violin and a no mean shake rhythm section. That plus the female lead vocals of RAMØNA, a four-piece alternative band. Punchy and upbeat with emotionally charged lyrics, influenced by post-punk, shoegaze and indie. Voted Best Alternative Act at The Fudge Music Awards 2019. Opening the night for the first stage’s Bad Sex, a five-piece heavy rock outfit. More pleasant to listen to than performing the act described in their name. STAGE 2 Topping the bill for the second stage is iMo, a guitar and cajon collaboration of Isaac Barnes and Morgan Taylor, who swap instruments. Prior to that’s Elphen, a solo act of singer and songwriter, Ellen Bain, playing a special set featuring original folk and indie influenced songs plus rock song covers. Opening the night for the second stage’s Marley Ann, a solo acoustic act that performs a variety of original and covered material. This’s a £6 entry event. Click for information regarding Saturday, September 7 as it comes, here.

REVIEW: TOOL FEAR INOCULUM ON NEW ALBUM

Los Angeles progressive metallers, Tool, have now reached that fifth full-length album point. This brand new album, Fear Inoculum, out yesterday in some places (August 29), is released via labels, Tool Dissectional/Volcano/RCA. Said progressive metallers from Los Angeles have strode far since their debut, Undertow, in 1993. They focus on the rather esoteric and conspiratorial, and with that have carved their own rhythmic, syncopated sound.  Fear Inoculum their first release in thirteen years due to creative, personal and legal reasons stemming since 2006’s 10,000 Days.  Both those albums produced by Joe Barresi. It was on May 5 that, at Welcome To Rockville in Florida, they played album tracks “Descending” and “Invincible”.  Then three days later, it was confirmed that the band’s new album was scheduled to be released on August 30.  Then on July 29, vocalist, Maynard James Keenan, announced the album would be titled Fear Inoculum.  The album’s title track was released as a single on August 7, the band’s first release in thirteen years. On August 2, the entirety of Tool’s discography (with the exception of Salival) became available on digital streaming platforms, the band one of the last major holdouts to release their music digitally.  The release of the discography online resulted in every release re-charting on several international charts and the band breaking several Billboard chart records. The singles for the project are, so far, “Fear Inoculum”.

First, there’s the “Fear Inoculum”. It pulses eerily, like an alarm. Feedback mournful like bow weaving over violin strings.  World music percussion follows, and then you can hear Justin Chancellor on bass.  The latter quite faint, then more pronounced.  Maynard airily breathes, “I exhale you.”  Guitar then gets more animated.  “Feel the light, feel the breath” calming, musical ASMR.   A groove develops before crushing riff takes hold, mighty and epic.  No longer calm, now in state of distress.  Emphatic chords ring out, only to go into the realms of the wayward. Bass, syncopated, marshals this back into something more to the point.  The vocals distort and subsequently clean, latter for extra clarity.  Then a machine gun attack via rhythm section, guitar ringing out in sparse fashion.  Then it breaks out into solo; gnarly, grave and almost righteous.   Second track, “Pneuma”, begins sedate, weird percussion either putting you at ease or your teeth on edge, unsettling. Things ring out for a seeming age before chorded bass takes hold.  It then grows loud and despondent, guitar syncopating as bass sways a little more nonchalantly.  Both team up to crush. What follows is quiet yet jazzy sort of industry on the drums, frenetic in a pattering sort of way.  Weird synth noises embellishing this. This grows impassioned, more so come the mighty, scratching guitar riff. Laying waste to all, laying waste to all and beyond when the bass and drums join its side. “We are born of one breath, one word; we are all one spark, eyes full of wonder” quite profound in line with the instrumentation. “Litanie Contre La Peur” (French for “Litany Against Fear”), now. This echoes like in some sort of modulated talkbox effect.

Then comes the time to be seen or unseen, “Invincible”.  This starts with quiet intrigue on the guitar.  This builds and builds, percussion like hitting upon massive jugs of water.  Then the bass grooves with just the drums behind it, moody refrain.  “Beating chest and drums,” indeed.  It gradually develops into a swaggering rocker, with periods of stripping back dynamically before building incrementally. The guitar then wails in pain, with no clear direction with synth threatening to deafen and overwhelm all.  Bass drags its heels for a low slung groove before guitar urges some syncopated chugging.  The ending couple of minutes brings the song into the world of highlight contention. Something like “Legion Inoculant” wouldn’t be complete without whizzing noises akin to that of a low hovering flying saucer.  Then feedback akin to radio frequencies gone haywire.  Waves splash taking you somewhere else, heavenly like monks singing in a monastery.   “Descending” seems like far off rumbling, a downpour.  Waves, again, actually.  High register bass then chimes, delicately yet with some urgency.   This justified with immediate guitar arpeggio coming later. The bass slings lower, giving oomph and an undercurrent of thunder. Then another example of guitar holding down the rhythm, bass taking lead melody. Then both adjoining eachother for latter aspect. Hit of drum and bass hammering shotgun blasts in order that the guitar truly gain flight.  One of the most thoughtful Tool guitar solos in a fair while.  Dust is left to settle as the instrumentation grows quieter.  At least for a little while.  Low end brings a sense of foreboding, guitar crying out for life. Latter wah-wah like caged animal set free.  Splash of cymbal and company followed by those rolling waves returning.

“Culling Voices” has an ethereal feel, before building of volume and noodling on guitar bring down to ground level. Two tracked guitars brings a sense of atmosphere, ramping up the sense of the ambient.  Subsequent bass rounded as if fingerstyle, ever so slightly. Finally comes the moment when the track picks up, gritty and snarling. Growing in confidence, stomping riff followed by a paring back to just the subtlest of movements.  Then the cacophony heralding a majestic, powerful end.  It ends as it began, slightly of a plane above this mortal coil. Then the “Chocolate Chip Trip” to take you on a journey.  This tinkles, a more premier example of musical ASMR.  This growing more electronic, more unsettling than serene peace and tinkling quiet.  More so when the drum rolls at the tops of its skins.

Beware the “7empest”, next.  This soothing of guitar arpeggio, percussion adding to the feel of something afoot by way of its tempo in accordance with said guitar.  Then that chugging machine gun drum and bass to accompany that raucous guitar.  “Looking dead in the eye” like a threat from the most tempestuous of people challenging you to test their temper.  Solid groove as guitar aims to soar the skies. Then falling, despondently.  A glassy teared eye with another lead guitar moment, yelping with pain in solo. Badass bass lays the foundations amidst tribal drum and that howling wolf lead guitar.  “Disputing intentions/Invites devastation/A tempest must be true to its nature” followed by more automatic fire.  Harmonic picked solo lending an extra dimension of losing control.  Then finding it, again.  “Control your delusions,” instrumentation suitably manic without much order. “The tempest will be just that,” as the song slows to its end. The finale via the “Mockingbeat” species.  Mockingbird, and the like, noises spliced into a rhythmic curiosity? Ones to look out for are “Fear Inoculum”, “Invincible”, “Culling Voices” and “7empest”. One particular thing to remark upon looking at this album is how well peppered these highlights are.  However, these feel spread out deliberately.  Granted, the seven track physical copy probably sounds stronger than the ten track digital copy reviewed here.   Neither three bonus instrumentals “Litanie Contre La Peur”, “Legion Inoculant” and “Mockingbeat” in highlight contention. Tool have delivered something only occasionally good.  Prior album, 10,000 Days, was nowhere near as classic as its 2001 predecessor, Lateralus, but still, relatively speaking, a very good album.  As said, maybe removing those aforementioned instrumental three tracks from both editions of the album would at least help it flow better. Tool’s Fear Inoculum can be bought on iTunes, here. Also visit their Facebook, YouTube, MySpace, Spotify, Deezer, Google Play Music, TuneIn and website pages to keep tabs on Tool.

REVIEW: DEADLOSS SUPERSTAR ARE SHAVING WITH PETROL ON NEW ALBUM

Deadloss Superstar have now reached that second full-length album point, having also released three EPs.  This brand new album, Shaving With Petrol, came out October 20, and was released via label, Taexali Recordings. All songs written by Youngson and Riley. Vocals and harmonica by Youngson; fiddle by Robertson; guitars by Anderson and Riley; bass by Clelland and drums by Ogston.  Second guitarist, Middleton, joined after they recorded Shaving With Petrol, but before they released it. The Aberdeen rock, alternative, punk and metal six-piece are quoted as having, “Fifteen permanent members so far…their isolated base in a wind scoured Scottish oil-port closer to Norway than London…as you read this, they are studying the prevailing winds and building a fleet of dragon-headed warships, all in anticipation of bringing their melodic hard-rock circus to your ears sometime soon.”  The local staple a mighty prospect. Their influences the likes of Clutch, Queens Of The Stone Age, Red Fang, The Bronx, Mark Lanegan, Wildhearts, Backyard Babies, Supersuckers, Baby Chaos, Iggy And The Stooges, New York Dolls, MC5, Sleep, Electric Wizard, Faith No More, Deftones, Alice In Chains, Gun N’ Roses, Monster Magnet, Fugazi, Tool, Mclusky, Royal Blood, Slayer, Public Enemy and Wu-Tang Clan. The outfit are quoted as having, in the past, “…mutilated guitars, several fractured ribs, a handful of concussions, and - most magnificently - a ruptured testicle.” Singles for this project, so far, are “Snowflakes”.  This a Bandcamp only Christmas charity single for Shelter. Opening track, “Kremlins”, rips in Soundgarden style, vocals included, with raucous guitar plus syncopated, dramatic hit of bass and drum to open proceedings.  The opening salvo.  Things then get scratchy and intermittent before wading back into the madness, again. Second track, “Near Miss”.  This has a kind of punky fervour to it, driving but dragging the heels.  “Now I understand” cues some moody work on the bass, really grooving as the guitar rings in and out in an almost eerie fashion. “Wolves”, now.  This one punky of energy, height of intrigue and troublemaking. Wolves on the prowl, lads on the p*ss in town.  Then a lead melody dedicated to pack hunters before smashing emphatically.  Skull cracking heaviness. Then comes digging that “Fresh Grave”, opening with pattering drum before angular guitar and bass weaves in wayward fashion.  This adjoined with wailing wah-wah solo.  The energy of the subsequent riff bouncing almost in nu-metal fashion.  “Slow down, now” apt as the tempo reduces slightly.  This ends abruptly, the fresh grave dug up and that body thrown in unceremoniously. 

“Bloody Rags & Butcher’s Knives”.  This like the slowed pistons of a train before sharp guitar grates the skin. Then the speed builds awesomely, only allowing a sneak preview before returning to familiar territory.  The solo like bloodied and beaten to a pulp but throwing punches, all the same.  The almost nasal vocal like the late Scott Weiland of Stone Temple Pilots fame.

“Flee The Crimea” is high register, discordant before rolling into a high octane and mighty riff.  Harmonica emboldens, lending a kind of hard rock vibe something a little bit of the blues.

“Voices” implies in instrumentation what it implies in song title.  Browbeaten, mind under siege as much as the song’s frenetic.  There’s seeming respite during the middle section.  Is this the manic replaced with the depressed? Anyway, the faint, distorted vocal, indeed, like voices in the head.  Indistinct yet troubling all the same.  Rude flourishes of guitar almost imply these voices building and coming from all corners.

There’s “The Glasgow Strangler” on the loose and the music adjoining aptly with track title.  Hammering guitar and drum propel as vocals pained, howling at the top of the lungs.  More apt being the sirens, and how the music fades in almost ambient fashion as these sirens become more prominent.  Like the heat of the moment, passion of the kill and how, once it’s all over, only silence and a dead body remain. What of “Snowflakes”?  The riff rough and tumble alone, and grooving so satisfying as the rest crash in.  “Can I ask what you’re drinkin’/Can you hear what I’m sayin’” asked amidst volume that would drown out most.  Then a kind of slowed, doomy attack.  Heavy and bluesy to its core, crushing.  Feedback rings out, cuing wailing harmonica.  It stomps big, clomping steps threatening earthquake before finally reducing to a tremor. 

“The Mountain That Eats Men” is super crunchy and grooving.  Fast and ascending before tribal drum and distorted guitar and bass take hold for a slowed fissure in the ground.  The closing riff, quite syncopated, is something for the ears to behold.  Epic. Things end with a stay in “Hotel Tashkent”.  This mainly acoustic of strum, bass searching in tandem with the vocals.  “What’s that you say” precedes the slowing of the acoustic plus the end of the song and, in turn, album.  Like only hearing what’s said once the music stops.  Or the music is chatter, pleasant as it is in how it concludes things in a style very different to the rest, akin to speaking in someone’s ear during live music. Ones to look out for are “Kremlins”, “Fresh Grave”, “Bloody Rags & Butcher’s Knives”, “Voices”, “The Glasgow Strangler”, “Snowflakes”, “The Mountain That Eats Men” and “Hotel Tashkent”.  One particular thing to remark upon looking at this album is how these are all, roughly, found at the all start, middle and end.  Even the other tracks, many of which slightly deviate from the sound in those quotes as highlights, are by no means bad. Deadloss Superstar, indeed, are a good mix of grooving hard rock and heavy metal plus more punkish stuff, too.  The harmonica a nice touch lending towards territory more akin to that of the blues.  In other words, they cover all bases as good as any self-respecting all round band, you could argue.  Even some acoustic stuff thrown in at the end for good measure.  Deadloss Superstar’s Shaving With Petrol can be bought on iTunes, here. Also visit their Facebook, MySpace, YouTube, Bandcamp, Soundcloud, Spotify, Deezer and Google Play Music pages to keep tabs on Deadloss Superstar.