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NEW REVIEW: SKELETON KEY

Published at: 05:05 pm - Wednesday May 09 2012

Skeleton Key – Gravity Is The Enemy (Arctic Rodeo)
Released: March 23, 2012

SKELETON KEY is back with a new album, their first full-length in ten years. I was a huge fan of these guys and thought they called it quits. Due to a kickstart campaign launched last year, SK has churned out another impressive album. They’re not exactly “metal”, but 2002′s Obtainium was released on Mike Patton’s Ipecac label, and “Spineless” was originally a collaboration on the Melvins’ Crybaby album. They’re a different form of  heavy. They play a brand of noise rock that features homemade “junk” instruments and focuses on a soaring pop melodies. Kind of like JESUS LIZARD and SLEEPYTIME GORILLA MUSEUM and DANNY ELFMAN combined with the hooks of Matt Mahaffey’s SELF.

SKELETON KEY is no doubt unique but definitely accessible. “Human Pin Cushions”, “Little Monster”, and the title track are instantly catchy and will have you singing along before it’s over. Then you have the awesome head bangin’ rockers “Machine Screw” and “Spineless”. Tucked in between, however, are the one-two novelty standouts of “I’ll Walk You To The Door” and “The Mowing Devil”. The former is played exclusively on a xylophone and is a spooky, shiver-inducing ballad. The latter features gang chants and sounds like it belongs on a pirate ship.

OK, so Gravity Is The Enemy is a little “all over the place”, but it’s good. No, it’s great. I missed these guys. I’m glad they’ve returned. Their back catalog (Obtainium &  Fantastic Spikes Through Balloon, for starters) is not to be missed either. The recording is simply top-notch. If nothing else, it’s worth hearing the sweet juicy bass guitar tone of frontman Erik Sanko. In short, please check out and support this incredible outfit so they can keep creating music. I don’t want them going into hibernation for another ten years.

Skeleton Key: website / facebook

“Spineless”

“Little Monster”

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NEW REVIEW: ROYAL THUNDER

Published at: 08:05 pm - Thursday May 03 2012

Royal Thunder - CVI (Relapse)
Released: May 22, 2012

I’ll admit: I didn’t think I would like this. When I see a band labeled “female-fronted doom metal”, I immediately sigh “OH BROTHER” and toss them in the “overdone” or “trying too hard” pile that’s been flooding the internets lately. So what makes ROYAL THUNDER stand out from the heap?

First things first: They are a stoner rock band with a hint of blues influence, but they’re not the schlubs down the street at your neighborhood tap. They are fronted by bassist Mlny Parsonz, but she’s not just a sassy voice at the karaoke bar.  No, this is Atlanta’s ROYAL THUNDER, and they rock, and she wails. They combine the swagger of ZEPPELIN and SABBATH with the grime and heartache of the South. Again, I know there’s a plethora of retro rock bands floating around, but RT‘s riffs are way too heavy to be lumped into that category. The production is explosive and thick, and thankfully not the overused, warm vintage sound you might expect with the classic rock influence. The music is dark and the vocals are haunting, but they are not another one of those occult rock bands. You get the idea. Whatever mold you thought, they break.

“Parsonz Curse” and “Whispering World” properly introduce the band with some straight-ahead aggressiveness, but you don’t get to fully know them until the enchanting “Blue”, a candidate to win this year’s award for Best Nighttime Driving Song. Some sleeper tracks shine towards the end of the record, as “South Of Somewhere” and “Drown” have slow and mystic introductions that burst with Parsonz’s screams and Lee Smith’s octopus drumming. Despite some lengthy tracks, no song drags. The only setback comes in the form of “No Good”, which ultimately sounds like a bad HEART song. CVI is over 60 minutes in length, so this is easily overlooked.

ROYAL THUNDER easily earns their rank next to all the good heavy bands coming out of Georgia (Mastodon, Baroness, Kylesa, Black Tusk). As we near the mid-point of 2012, it’s safe to say RT‘s debut full-length will be a strong year-end contender. And they recently unveiled their summer tour dates. Madison friends, mark June 23 on your calendar. They are coming to The Frequency!

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NEW REVIEW: THE NEXT HUNDRED YEARS

Published at: 08:04 pm - Saturday April 28 2012

The Next Hundred Years – Troppo (self-released)
Released: March 13, 2012

OK yes, this band also happens to be from Canada. No, this is not on purpose. It just so happens that I stumbled upon another great northern album, this time from Vancouver quintet THE NEXT HUNDRED YEARS.

I loved the 90′s. The bands, the attitude, and the awesome songs just did it for me. The alternative rock sound made me love music, in general. I don’t know if that’s the reason I enjoyed this particular release, but it certainly had a lot to do with it. Regardless, Troppo is full of impressive musicianship, and its songs are progressive, psychedelic, metal, and alternative, but above all else, TNHY is simply a great rock outfit.

Bands that come to mind when hearing Troppo: SOUNDGARDEN. TOOL. QUEENS OF THE STONE AGE. There’s a bit of the post-rock aspect à la FUGAZI too. The biggest strength of their incredible arsenal is arguably vocalist Zeb Pigott-Duggan. His vocals are similar to the bands I just listed, and he fattens it up with some well done harmonies. I must also commend drummer Jonas Fairley on his approach to the arrangements. He adds double kicks when you wouldn’t expect them, but they work and bring exciting crescendos to the songs.

Highlights include “Building Into A Building” and “Pyramid”, the latter of which builds up into this bone-chilling space trip around the 2:30 mark. Goosebumps, dude. There’s plenty to enjoy on this 50-minute thrill ride, though, and best of all, the band is offering a “NAME YOUR PRICE” download from their Bandcamp! You can’t beat that. Their back catalog is also offered for free, and after the excellent and nostalgic trip that Troppo offered, I will be heading there next.

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NEW REVIEW: MENDOZZA

Published at: 09:04 pm - Tuesday April 24 2012

Mendozza – Mendozza (self-released)
Released: January 1, 2012

All right, honestly, there must be something going on with the Great White North, because I keep coming across great Canadian bands, like Vancouver’s MENDOZZA. Their latest self-titled, self-released album simply wails, slays, and destroys everything in its path. There’s sludge, stoner, and doom here, but most important is the ROCK dominant throughout its 40 minutes of power.

They lift a tip of the cap to MELVINS on opener “Ligature” and bring it like HIGH ON FIRE with “Ayahuasca”. I was instantly reeled in by the catchy riffs, prevalent on “Spirit Horse”, and I think MENDOZZA knows when they have an exceptional riff because they just let it ring over and over, like the final 3 minutes of this track. I could have done without the instrumental jam “Bifrost”, but if nothing else, it serves as a segway for the absolute barn burner highlight, “The Undertaking”. You must listen to this track as I cannot put its ferocity into words. Ahhh, so good!

Guitarist “Deuce” has a wide range of vocal styles, from a King Buzzo chant to throaty growls and screams, and everything in between. He is excellent supported by “Masterbeater” and “The Judge” on drums and bass, respectively.  Together, they are one loud power trio. Their latest is also sonically rich, thanks to “The Scotts” recording and Matt Bayle’s (Mastodon, Isis, Giant Squid) mixing. Everything is just well done. If you’re looking for some serious in-your-face metal that is also heavy on the balls-out ROCK ‘n ROLL, this is for you.

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NEW REVIEW: THE GREAT SABATINI

Published at: 04:04 pm - Saturday April 21 2012

The Great Sabatini – Matterhorn (No List Records)
Released: March 25, 2012

Canada has been on a roll, or at least it’s been all over my radar lately. Montreal quartet THE GREAT SABATINI, who not only have a kickass name, have a great new album to boot. Their latest, Matterhorn, is full of aggressive, over-the-top sludge and topped with some beautiful ambient soundscapes.

Starting out with the one-two punch of “City Limits” and “Zacios”, TGS tunes it down, pushes it out slow and hard, and lets the feedback fly. It’s nice and dirty and in-your-face. Then, something drastically changes on the dreamy segway “Invisible Door”. You wouldn’t be able to tell it’s the same band had you not been listening to the tracks in order. It’s brush-touched with piano and the guitars are ringing clean, almost like a softer SONIC YOUTH song. I don’t know, but it’s great, and it ends so abruptly, tossing you back into the sludge on “Null And Void”.

The real highlight of the record is “Wagons”. The introduction, again unlike anything else on the album, throws the kitchen sink at you before the real bruising starts. TGS really must be commended for their creativity. The intro aside, “Wagons” is an excellent song, just an absolute punishing track. And finally, TGS gets it when it comes to song placement, as “Sad Parade Of Yesterdays” closes out on an epic note, showcasing their progressive song arrangements and layered sonic textures.

All in all, this is an excellent raw album, for fans of NEUROSIS, MASTODON, and CONVERGE. And when you’re done listening/buying it from their Bandcamp, check out the also recently released EP, The Royal We.

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