Tag Archives: Svart Records

High Fighter – “Scars & Crosses” (Svart)

Posted by Fraggle on

high20fighter20scars2020crosses202020202020album20front20cover_20by20dominic20sohorHigh Fighter are a five piece doomy sludge band from Hamburg, one of the busiest places in Europe. As Germany’s Equivalent to Amsterdam in terms of the culture and party-like atmosphere of certain districts and areas, the city is also a hotbed of musical activity and given it’s proximity to Wacken, its no surprise many metal bands love to go there, be it touring or passing through it on the way to one of the most celebrated (and extremely divisive) festivals on offer. With some real praise being lauded on them, by the likes of Conan, arguably the biggest doom band currently active right now, John Garcia, a pioneer of stoner rock and various media outlets such as the iconic Sludgelord, big things are expected from this band. Let us see if these guys can fight their way up high.

“A Silver Heart” opens the album up with an initially lightly distorted progression before the dirt kicks in. Rich distortion, deep rumbling bass and steady drums going at a slow pace shift to a lone guitar riff before it kicks in. The bass is clear as it rings out under the hazy, hypnotic and melodic progressions which roll off the guitar with little fuss. Vocally, its clean with a solid tone, occasionally lapsing into the harshness where required and with a very similar feel to the delivery of Mike Patton. As the track progresses there are some slight rhythmic shifts and little rapid drum fills but it maintains that steady pace with ease. The bluesy lead break goes down a treat with some sublime sounding licks and the descent into the heavily spaced out musically and vocally  raw section makes for a great end. In all, an intriguing opening effort.

“Darkest Days” follows and it is more upbeat than the previous one. With a real rocking groove and infectious melodic hook, it has a great stoner vibe to it. Subtle in the verse with rich vocals and a warm bass tone, it gets a little rawer towards the chorus. With plenty of hypnotic and surreal feel, the mid section has a great progression from clear to murky in both vocals and sound. The subtle lead melody, hidden behind the sea of clashing symbols and fuzz surfaces from time to time, punctuated by the growled vocals and as an ending, it does the job well, leaving the track to fade into some heavy breathing and scraping sample noises.

“The Gatekeeper” comes in with its phaser-laden guitar intro. The swirling effect is delivered well as it adds a surreal edge before the bass and drums come in, thickening the sound up well. Slow and steady paced, the verse goes down easy with its simple beat and the vocals have a hazy feel about them. Darkening for the pre-chorus, with some sludge styled harsh vocals, it gets heavier before taking a more melodic and fuller sound in the chorus. Bringing back the phaser, the second verse gets that surreal edge again and the reverb on the vocals just adds that little bit extra before the sludge to melody shift happens again. The hard hitting riff section follows this, speeding up a little and bringing a pseudo-Sabbathian sound before the big build up moment which results in a great sounding classic rock influenced lead with wild wah and fuzz to round the sound out for a solid ending which drifts into a howl of feedback.

“Blinders” has a quick paced intro. With a bouncing feel, a real booming bassline and fuzzed out main riff, it brings the sludge side right out. The harsh vocal delivery hits hard and as it slows to a steadier paced delivery, the vocals clean back up just in time to transition back to the sludge laden groove feel again. With a subtle melodic lesd hook and surreal sounds courtesy of effect use, it comes alive once more before going into the rawness once more. The simple structure and alternating from sludge to melodic in terms of delivery works great and just like before, the howl of feedback signals the end of the track and the first half of the album.

Opening up the second half of the album, “Portrait Gods” hits with a heavy, pounding riff. Heavy on the groove, the vocals really ring out on this one, shifting from raw and harsh growls to soft and expressive cleans with little effort required whilst the riffing sounds like an extremely heavy ‘Welcome To Sky Valley’ era-Kyuss. With ringing out muddy cleans and fat fuzz laden monstrous riffs full over power, it really hits the spot. Not too fast, not too slow, not too overpowering but with plenty of bite where needed and a touch of spaced out for good measure. It’s a joy to behold and the trippy, almost psychedelic solo with the massive wah and phaser use is tremendous!

“Gods” keeps with the more stoner frock friendly sound whilst still containing that power of the doom riff. This time coming off more ‘Blues For The Red Sun’ era-Kyuss meets Fu Manchu, it lays on the fuzz and infectious feel and groove. Subtle lead melodies work in harmony with the vocals, rounding out the sound and giving a twin-headed approach, the power and groove of the riffs and rhythm facing off with the hypnotic delivery of the vocals and hook laden lead. Heavy enough to still maintain links to the doomier side of their sound with the thick sound from the guitar and bass, but having the real rocking flow of the stoner end of the spectrum, its a well balanced track which holds up well.

“Down To The Sky” has an intricate clean intro which flicks to distortion quickly. The slow pace, ringing arpeggios and deep bass create a warm feel reminiscent of Goatess, precariously teetering on the edge of Sabbathian styled doom but having more of a psychedelic edge to it. Heavy but not overpowering, the sound is fantastic with a real depth and fullness to it. The steady pace and powerful vocal delivery works like a charm. The pace allows for some headbanging if needed, but sitting back to appreciate whilst nodding along works well. In the mid section there is a touch of harshness to the vocals but the way the riffs hit with some melodic kicks here and there is what really caps it off. The frenzied wah solo kicks it up a gear as it rips through the steady pace, giving it a more balls out approach which comes in at just the right time. Honestly, this is the best track on the album by far!

Closing the album is “Scars & Crosses”. With a Bill Ward styled drum pattern, it goes into a real raw sounding wah laden lead and you guessed it – right into Sabbathian doom territory. With a brisk pace, a real bite to the snarling guitar tone, this one is a real live-wire. Rough around the edges vocals with some harshness at points cap the faster sections whilst the simple hypnotic main riff hammers away. The lead fills and melodies keep the frenzy going and the shifting from rapid to steady with the pace and delivery is balanced well. Carefully crafted, this track does well to draw on the whole album but adding even more in its final minutes. Solid riffs, great lead progressions, rumbling bass and tremendous drums, this has all the makings of a cracking live track and it serves as a fitting curtain call on an impressive debut full length.

As evident by my review, this album is clearly one of two clear halves. The first half is more orientated to the doomier and sludge side of the musical spectrum whilst the second half, my personal favourite leans more towards the stoner and Sabbathian school of doom with a hefty dose of psychedelic quality added for good measure. When both halves are combined, it gives a well rounded recording which touches on all bases, satisfying fans of all kinds of doom and its sub-genres whilst sounding fresh and unique.

The lavish praised heaped upon Hamburg’s High Fighter is warranted and I highly suggest you should see what the fuss is for yourselves!

(8.5/10, Fraggle)

http://www.facebook.com/highfighter

Goatess – Purgatory Under New Management (SVART)

Posted by Fraggle on

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Doom is such a wonderful genre. It ranges from the depths of despair with the crushing, monolithic walls of sound which accompany funeral doom to the groove laden, raw and rocking feeling of stoner doom and of course, Black Sabbath’s ‘trinity of doom’ albums from 1971-1973 (Master Of Reality, Volume 4 and Sabbath Bloody Sabbath). The sonic landscape within this genre is vast and there is so much to choose from. Sure, bands like Sleep, Electric Wizard, Saint Vitus, Church Of Misery, Pentagram and other notable names stand out and you can add Goatess to that list.

Formed in 2009 by Vocalist Christus (Christoff Linderson, Lord Vicar, ex-Saint Vitus,) and Guitarist Niklas in Stockholm, the band were conceived with the notion that their music would be more about the ‘power of the riff’ – taking a guitar or bass riff and expanding on it, creating a massive soundscape and atmosphere. The result ended up in their self-titled debut ‘Goatess’, released in 2013 on Svart Records and the best way to describe it would be psychedelic stoner-doom metal. Full of wonderful riffs and captivating and mind bending sounds, this album received high praise and three years later with a slightly changed line up, Goatess return once again to blow our minds. With Purgatory apparently being under new management, let us see how it fares under this new stewardship.

The slow, melodic descending guitar line with a warm and rich bass tone opens up “Moth To Flame” and almost instantly you are sucked into it. The subtle drums give it some slam kind of timing whilst the stringed section slowly encircles you and when Christus’ vocals kick in, everything just transforms. Delivered softly with a real remarkable sound, the vocals combine with the music behind them to create a hypnotic effect. Emotive and expressive, the music slowly begins to build up momentum giving a great feel to it and then it happens… Two minutes in, the riff kicks in as the clean, melodic section reaches its crescendo and to put it bluntly.. Fuck!

The fantastic tone is just something beautiful. Rich fuzz and perfectly balanced, the guitar riff brings the bass and drums to build up more and what results is a full on groove which opens up a new feeling and forces you to surrender yourself to it. With more power behind the vocals this time, they have a real hook to them as Christus’ delivery paints a vivid picture with the music bringing it to life. It’s not heavy as such, but the pounding feel and intensity is massive and you just find yourself caught up in it. Before you know it, you’re at the later stages of the track and the riffs become slightly darker and heavier and a sense of urgency and franticness appears, bringing with it some wild guitar sounds and dramatic, powerful vocals, really shaking it up before it subsides and fades out. What an opening track!!!

Title track, “Purgatory Under New Management” follows next and it starts off with a slow, building drone-like riff under a spoken word sample about the assimilation of paganism into Christianity. As this builds up and sets the scene, the drums and bass come in to build it up some more and the sound of the bass is delightful, clear in the mix and with a great tone! Progressing through the track, it begins to get heavier as the vocals bring the lyrics to life, creating another hypnotic effect over an intricate guitar lead melody and much like the previous track, it builds in intensity and atmosphere before getting more distorted, heavier and intense, resulting in an intricate guitar and drum heavy section to end the track!

With a title which is a clever play on the widely known ‘Murphy’s Law’ which is often the go to explanation for pessimists and realists, “Murphy Was An Optimist” is the next track on this album. Opening up with a real driving feel, the solid riff and drums are accompanied by a booming bassline, creating a steady pulse which is perfect to headbang to whilst the vocals are solid and help push the track on. The riff changes throughout the track, in parts it becomes more melodic for the guitar parts, in others the bassline becomes more melodic but whatever approach it takes, it still maintains that headbanging pulse, the whole idea behind Goatess and their musical vision – create the riff then build the atmosphere around it. Be it the hypnotic feel sections later on in the track or the rumbling and melodic lines earlier on, the simple structure of this track appears so massive because of the little touches the band add to create the atmosphere and the simplistic lead line which ends the song caps it all nicely.

Instrumental track, “Crocodillians And Other Creepy Crawly shh…..” is your typical ‘out there’ moment of the album and not just because of its title. The track consists of a slow, doomy riff which grows in volume and presence, accompanied by a hypnotic wah-laden bassline and steady drums all underneath some samples from a wildlife documentary… Yeah… Anyway, it is hypnotic and captivating. The way the bass’s rich tone and then the intricate clean licks of the guitar combine, it has a real surreal quality to it and as it gets heavier once more, surging and swirling effects really bring it to life, making it the musical equivalent of mushrooms or other hallucinogenic substances!

 

Bringing us back to reality so to speak, “Shadowland” can be described in four simple words – ‘All Hail The Riff!”. With a sound reminiscent of the ‘doomy’ Sabbath era, this track sounds fantastic and would easily fit in with the likes of ‘Sweat Leaf’, ‘Snowblind’ and ‘Sabbath Bloody Sabbath’ in the musical department. Vocally, its slightly darker and more ominous to the other tracks and as usual Christus’ delivery brings it all to life. With great timing, excellent delivery and memorable hooks across the track, this is just one to lose yourself in. Round the 3:30 point, we get the iconic ‘lone guitar riff’ moment which leads to a thunderous sounding section which is massive in all elements. Pounding basslines and solid drums lay down a huge sounding foundation for the guitar to freely express itself with a unique solo which has a surreal edge to it before the riffs come back once more.

“Silent War” takes us away from the altar of Iommi and into a spookier place. With a thick basslineand swirling sample, it goes into a real heavy riff underpinned by a steady pulse and coated with a powerful presence. With slightly hazy vocals coming and going between the clear deliveries, it further increases the unease about the track and the solid, chugging riffs give a great groove to it. Round the 5:30 section, there is a huge wah-laden guitar riff which really builds the track up, leading it into a huge sounding section. With a rich and boomy bassline, great vocal work, captivating drums and hypnotic guitar lines, it keeps you in its trance before a real slick and delightful guitar solo blows you away, giving the track a real magical edge.

“Wrath Of God” is the penultimate track and it will consume you. With a rich sounding clean intro laced with a melodic quality, the guitars ring out wonderfully whilst the bassline drives it on and the intricate drum patterns lock it all down to a steady pace. It picks up as the vocals come in and round the 2:20 part, we get a big kick as the distorted section comes in with a real thick sound but it isn’t as overpowering as you would anticipate. Going back to the clean sound, it gets hypnotic once again and as expected, it distorts once more, bringing in a real headbanging feel section before the vocals trail off as a melodic guitar lead takes over. Shifting once more, a hypnotic wah-laden bass heavy section follows with subtle vocals and here is where reality starts to slip away. A clean lead is accompanied by ‘Ahhh’ like backing vocals and subtle synths which all create a fantastic and epic sound and atmosphere. From here, it’s just a case of sit back and enjoy as the leads guide you through to another distorted section, backed up and in places, augmented by the backing vocals and synth, it hits with real power and honestly, this track right here is the best way to describe why you need this album!

Closing the album is “Good Moaning” and it’s back to a more groove-orientated feel. With its heavy, steadily thumping rhythm section and muted guitar chugs, it has a powerful edge which is only amplified by the enticing vocal delivery. Changing feel slightly, the riff alters the pace of the track and switches it to a pounding feel before shifting back again, all the while retaining its thunderous feel and delivery, giving it a real heavy sound. Constantly riddled with subtle changes, it keeps flowing smoothly and draws the album to a close.

Overall, this is a phenomenal release. Laden with great riffs, captivating and hypnotic sensations, a massive sound and atmosphere which just takes you away and blows your mind, Goatess have managed to create a masterpiece here which ranks up there with the best of them. Purgatory is under new management and if this is any indication, Purgatory sounds like a wonderful place to visit! Even though we’re only in the first half of the year, Goatess could very well have released album of the year!

(10/10 Fraggle)

https://www.facebook.com/baldersounds

Chestburster – “Slime And Guilt” (Svart)

Posted by Fraggle on

unnamedWith a name like Chestburster, you’d expect something horrific lurking beneath the surface, ready to explode to life and bring forth something totally terrifying and impossible to grasp the reality of and this three piece may just be that. With a few EP’s under their belt already, the trio from Kouvola, Finland are set to unleash their debut offering, titled “Slime And Guilt”. With a name like that, you have to wonder just how filthy this album really is.

Wonder no more, as the opening bars of “Faces In The Rain” reveal all you need to know. With a real sludgy feel with doom-like atmosphere backing it up, it’s unsettling and evil, just the way we like it. Initially steady paced, it really hits in for the verse, delivered hard, fast and rather loosely, there is a real punk vibe to it, hidden under all that grimy sludge harshness coating it. Despite being rough around the edges, both instrumentally and vocally in terms of the delivery, there are subtle lines of melody buried within the layers and when you pick up on them, they are rather good. Delving into Black Metal territory slightly round the break with a real frantic paced delivery with huge sounding chords played at a blistering pace, the song just jumps from varying levels of intensity on a whim, keeping you on your toes, especially towards the end with its screamed vocals and sinister sounding lead guitar section for a chaotic end.

“Experienced Virgin” has more of a real raw stoner feel to it, oozing with copious amounts of sleaze and dirt. With a raw tone and slightly ‘off-beat- feel, the hazy vocals have a slight hypnotic effect to them. There’s plenty of nifty little blues licks across the track, all of them packed with plenty of flair and character but as you’d expect, Chestburster don’t do things normally. Speeding proceedings up, it gets more chaotic and all of a sudden, there is a lot more happening – wild drums, fast paced bass and guitar and harsh vocals all lead to a real solid sounding solo soaked in a fantastic wah-rich tone to round it all off. Title track “Slime And Guilt” switches it up again, this time rolling back the years to a real hard and loose late 70’s styled punk sound. With the raw and loose feel about it, combined with the hazy vocals, it really captures the essence of the album so far, that being it is wild, uncoordinated and frantic with no real flow to it whatsoever.

“Gas Station Pilgrim” keeps this lack of flow going, changing it up again and bringing a near 10 minute epic to the party. Its real slow blues feel works like a charm, allowing for some great atmospheric build up without much intensity to it. When the verse finally lands, the bass is stupidly heavy and those hazy vocals return yet again along with small flashes of intensity to the sound. With the chorus, it gets more prominent, having a ‘bigger sound’ to it and you kind of get the feeling this is like a slow burning fuse, just waiting to explode to life but as it goes on, through some real hook laden riffs and plenty of ominous vibes given off, there isn’t that explosion which is so brilliantly teased. It does get heavier towards the end after the massive solo section but the only explosion is the expressive lead to cap this epic length track off.

From here on out, things begin to settle in to some kind of flow. “The Arm Stretches Out”, “Rojo Sangre” And “Licking Letters” all have real prominent feelings of stoner-doom groove to them. Packed with riffs which in some cases are tributes to the Godfather of riffs himself, Iommi, and others which are more hook laden and infectious in nature, this trio of songs gets some good momentum and continuity building and shows just what the band is capable of when they settle on one direction. There are flashes of the chaos which ran through the opening tracks, it wouldn’t really be Chestburster without those, but it is a welcome change to have a block of tracks which work well with each other.

This of course changes for the final two tracks. “Tame” is more doom friendly than stoner/groove and the sinister sounding guitar and bass intro really sets up the massive Sabbath styled riffs perfectly, but from here, it is anything but tame. Picking up the pace significantly for the verse, it goes flat out before slowing down again, repeating this pattern to the end of the track. Each section has some great pounding riffs (Slow) and some reall hook laden instrumental sections and slick lead line deliveries, but after the continuity of the previous tracks, it just feels a little off. “Ice Age Inside My Head” is the closing number and this brings back the groove feel. With a solid pace, some great melodic hooks to the riffs and some good energy in it, the track brings the band back to doing what they do best . More accessible than most of the album, its an enjoyable track to listen to with its straight to the point rock and roll vibe coated in a thick stoner styled delivery and the guitar work is magnificent, oozing class be it in the lead sections or the riffs.

In all, “Slime And Guilt” is an album of two parts, the opening part in my mind being the weaker of the two. If you can get past the first four tracks, you have a remaining 5 which are great slices of groove laden doom which would make the perfect soundtrack for some high and good times. It is an album which does get better as it goes on, but given how different the two parts of this release are, its a case of persevering and dealing with the dynamic and entropic qualities of the first half.

Still, it’s not bad, it’s just not for everyone.

(6.5/10 Fraggle)

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Jess And The Ancient Ones – “The Second Psychedelic Coming: The Aquarius Tapes” (Svart)

Posted by Fraggle on

jess-and-the-ancient-ones-second-psychedelic-coming-cd Psychedelic six-piece Jess And The Ancient Ones (now refered to as JATAO from here out) hail from Kuopio, Finland and well, they prove that once again, if you want some brilliant music, look no further than the northern reaches of Europe. Scandanavia has always been a hotbed for great music – it was the birthplace of the melodic death metal scene, it helped augment the notoriety of black metal and some of the best doom acts hail from the frostbitten northern countries. Now we can add Psychedelic Rock to the list. The eagerly awaited follow up to their debut full length in 2011 and EP in 2013, “The Second Psychedelic Coming: The Aquarius Tapes” (Now refered to as The Aquarius Tapes from here out) promises so much. Let us see just what the second coming sounds like.

“Samhain” opens the album and right away, it’s like stepping back into the early 70’s. A blend of mysticism and classic rock with plenty of flair and dramatic vocal work combines fantastically. Blending sounds which can be likened to The Doors, Deep Purple, Pink Floyd and the mighty Blue Öyster Cult, it is a storming rock and roll boogie filled track with plenty of trippy vibes emanating from it. With a real retro-rock boogie feel, full of swagger and flair in the delivery, the six piece really throw out a captivating track to begin with. The organ which sits just ontop of the vocals and guitar work really brings it to life and the power in the vocals really brings the track to life, especially with the big, dramatic Jim Morrison-esque belted out vocal sections near the end of the track.

“The Flying Man” brings a shade of Hendrix to the album. With its wah-soaked guitar and massive drum roll into a more darker and slower paced track, it is full of atmosphere. Once again, the lead guitar fills and organ add that extra edge to the track as they dance their way across it whilst the solid rhythm section and vocals really carry the track, hammering it home. Flair filled blues fills turn into a full blown tasty bluesy feel guitar solo and not to be outdone, the bass even gets in on the lead melody and has some soloing of its own towards the end which leads into the powerful final chorus with a real massive big vocal outro.

“In Levitating Secret Dreams” we get the pomp and bite of Blue Öyster Cult – trippy feeling rock and roll. With call and response styled vocals over a lightly overdriven rhythm, flowing classic styled lead and hypnotic drums, it takes hold like the early 70’s BÖC sound. Wild sounding lead fills accompanying the Vocals, the chorus has some great melodic sections and the second verse shows a more darker and sultry vocal delivery, showing just how versatile JATAO really are. It’s a short and energetic track with some real classic rock flair behind it. “The Equinox Death Trip” is a fantastic track. The rhythm section really stands out on this one with some solid bass and drums which lead to an infectious groove which I challenge you to resist. With cleaner vocal delivery and atmospheric guitar and organ interplay, it has a really mystical quality to it, kind of like The Doors but with a heavier edge. The beefy riffs and organ interplay round the 2:40 mark give a real great sound, especially in the organ solo but the real magic happens at the 4:20 mark where big vocal wails, frantic and loud organ abuse and a bass solo under a guitar solo just lead to a convoluted but majestic maelstrom of creativity and expression which hits the mark!

“Wolves Inside My Head” is more ominous and slightly harder in its musical delivery. Almost like it has been laced with Venom for some real impact, it opens up with an ominous rumbling synth under a soundbyte sample which goes into a quick lively burst before it eases off in the verse. With a punchy rhythm and real build up element to it in the verse, the lead guitar subtly mirrors the vocal progression as it enters the chorus and the spooky feeling organ sounds just make for a rich atmosphere to get caught up in. With some real storming grooves which are infectious as hell, it has that classic rock-come-blues boogie feel to it at times but with a darker tone and it eases off into a hypnotic bass/vocal combo to end it in a real solid display. “Crossroad Lightning” brings back the mysticism again, starting off with something which sounds almost Native American-like , giving it a slight ‘epic’ feel. With overarching synths over a steady and melodic verse, it has a big feel and the synths essentially dictate the dynamics of the track – as they grow louder, so does the vocal delivery. Round 3:40, the bass really kicks in and there’s some fantastic vocal work and bluesy riffs and as the track progresses, it picks up that BÖC feel again with the raw sounding riffs and a really good bass riff/solo spot. Round 5:40 we get a real big melodic moment with some massive vocals and piano before it starts to wind down towards the Native American sound once more to end it.

“The Lovers” is a short burst of energy. A bouncing feel rock and roll groove underpins the track as it’s infectious nature takes hold of you once again. With some great vocal delivery and solid synth voicing’s, it really has a kick to it, especially in the choruses where it gets louder and the vocal and lead melodies shine through before we get a real blistering paced solo. This then leads into “Goetia Of Love” which keeps up the lively feel. With some solid musicianship providing the energetic and slightly bouncy feel backing for the vocals which just roll off so smoothly, it’s got a great sound to it. The chorus brings the retro rock feeling back into full swing with some backing “oooh’s” and a memorable descending run for the main hook and later on in the track we get a touch of some Robert Plant styled vocal wails which really add to the sound.

This of course leads us to the final track of the album which is also the longest. Clocking in at just over 22 minutes, “Goodbye To Virgin Grounds Forever” is an epic in every sense of the word. Given how the rest of the album has had that big rock feel with a lively pace to it, this track is the polar opposite. It’s slower and more sorrowful in its delivery which in a strange way, makes it rather beautiful sounding. The track opens up with a lone piano melody which is joined by a flute and some periodic cymbal clashes to up the mood and to set the scene, building a sorrowful but captivating sonic landscape to get lost in. The rest of the band joins in and it is more bluesy – subtle bassline, vocal freestyling in the Plant wail delivery and subtle guitar licks and progressions steadily build up and the first real change in dynamic is round the 6 minute part. The drums pick up, the vocals get slightly softer in their delivery and the guitar becomes more prominent. This approach leads to a smooth bluesy solo before it picks up again round the 8:30 point, growing in volume and intensity, giving a sense of a bigger, more dramatic musical shift to come, especially when the vocal delivery gets more dramatic and horns and building feel drums join in, making it even louder.

Round the 10 minute spot, we find ourselves dipping into the BÖC style again and the rich bassline and strong piano really ties it all together well before it changes again. Easing off on the volume but speeding up with regards to some instruments, the 11:30 point leads to another major shift as the piano gets faster and it gets more frantic and the guitar and horns get a little more intricate. Cascading into a Hendrix styled section round 14 minutes, it picks up again and then two minutes later, it shifts again, with more power coming from the vocals and the twisting bass and turbulent drums, really shifting it more to the classic psychedelic stylings.

Eventually the track begins to slow down before the final major change – a near enough all vocal three minute outro with a folk-like melody which follows the vocal harmony lines to great effect. Initially this shift doesn’t quite work, but as it progresses, it works out rather well and brings a very dynamic track and album to an epic close.

Overall, “The Aquarius Tapes” is another astounding release from Svart Records. It’s got everything you want from psychedelic rock and blues – its arrangements, phrasings and progressions get you caught up in them so much you cannot help but have your mind wander through the rich sonic landscape which Jess And The Ancient Ones have created. With slick guitar chops, infectious and feel dictating synth and organs, a solid rhythm section and some magnificent vocals, JATAO have created a real hit here.

(8.5/10 Fraggle)

https://www.facebook.com/jessandtheancientones

Out 4th December!

Night Viper – “Night Viper” (Svart)

Posted by Fraggle on

Before I get into this album, I want to say the following:

Svart are a fantastic label. You should check out their roster and some of the releases. From classic rock infused metal to full on dark atmospheric doom and the more mystical qualities of stoner doom, there are some cracking releases on the Scandinavian label and if you do one thing, make this a purchase from it in 2015!

Now back to the review…

 

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Night Viper are a five piece classic sounding heavy metal band based out of Gothenburg, Sweeden who include in their ranks, musicians who have played in Miasmal, The Order Of Israfael, Church of Misery, Guerilla, Radiation and Firebird. Formed in 2014, the five piece are set to unleash their debut album, the self titled release “Night Viper” on Svart and given the interest and buzz about this band, this is one album which surely excites.

Opening up with the title track, “Night Viper”, the classic rock meets classic metal feel hits right away. With its high octane rhythm consisting of well structured chords and riffs to a solid drum beat with some flair filled bass licks added for good measure, it kicks in with that attitude and snarl you’d expect from the early NWOBHM bands like Judas Priest and Iron Maiden. The female vocals were not expected at all, and the clean delivery of them with plenty of weight and power behind them is sublime. With a real rocking feel and rawness to it, this opening track sinks fangs in and injects the classic metal venom into you, putting you completely under its spell. Blistering guitar work is strewn across the song, from crafty little fills to a wild but melodic solo which even has some harmony and trade off sections in it for good measure and all of this together creates a fantastic opening track.

“The Hammer” follows on with more of a harder sound to it. With more beef in the sound, its low end rumbles like a chopper, making sure everything around knows where it is. With that metal attitude oozing from it and the passionate vocal delivery which brings back the feeling of the first three Iron Maiden albums but with less punk snarl and more vocal control, it just hits you right on the head. Catchy hook laden riffs provide a fantastic backdrop for headbanging and the semi-thrash like soloing just adds that kick at the right time to really up the tempo.

“Curse Of A Thousand Deaths” is this album’s ‘epic’, clocking in at seven and a half minutes. Opening up with a sinister atmosphere setting progression of guitars laden with chorus and reverb playing a dark sounding arrangement, it really sets the scene for what promises to be an enticing sonic experience. The softly delivered vocals, almost like a ghostly whisper but full of haunting melody seep out from the melody, giving one of those raise the hairs on the back of your neck moments. As it slowly progresses, growing in volume and atmosphere, the anticipation builds and builds as the melodies become more intricate and cleverly arranged to the point where you’re just expecting an all mighty wall of noise to smash into you and leave you lying there in its wake. That wall doesn’t exactly come crashing down, but after four minutes, the fast paced metal seems to seep through the dense atmosphere of the song and inject some life into it with a fast paced section. With the solid vocal delivery and soaring feel riffs, it has an epic feel to it and the payoff is wonderful, especially the lead guitar section… Simply fantastic!

“Run For Cover” has a slight thrashy vibe to it. Bringing in the classic palm muted gallop, it charges ahead at a good energetic pace which encourages headbanging. The vocals are delivered faster and with more attitude behind them and in the chorus there is a slight hint of balls to them as they come off really powerful. With the fantastic riffs and wah-laden shredtastic solo, it is a classic 80’s metal track if there ever was one and it wouldn’t have sounded out of place on an album like “Killers” or “British Steel”. With some great fist in the air feel and rawness to it, it blends the heavy metal wildness and classic metal sound to maximum effect and that wild second solo sandwiched between some more gritty delivered vocals with sneering attitude behind them really nails it!

“Warrior Woman” follows on and this is another seven minute epic of a track. With a dramatic building harmony lead over some spoken word samples and war like drums, it grows in volume, creating another atmosphere before the big bass slide brings in a colossal sounding slow paced monstrous sound. Pounding riffs at an almost doomy pace really ramp up the loudness factor of the album and by the two thirty mark, it finally kicks in. Faster drums and hook laden guitar riffs drive the song on. As with the previous tracks, the well articulated and clean vocal delivery really comes through and holds its own. With the right mix of attitude and balls to it, the vocals really bring the track to life with some real metal flavour and those riffs are just great. Simple and effective, it is minimal input with maximum effect. The guitar and bass harmony section right before the raw sounding solo is great and when that solo comes in, it’s so simple it works brilliantly, allowing you to enjoy the solid rhythm work underneath whilst still finding your hands working up and down that air guitar’s fretboard. The post-solo breakdown is bass and vocal driven and it really builds the mood once more so when the guitars come in, the power really rings out in the vocals and wow… It’s fucking fantastic when it kicks in for the final run down with some big classic sounding Maiden chord work.

“Faces In The Mirror” brings back the more thrash/speed metal approach with a rapid guitar riff over a fast paced heavy groove. Vocally sharp and laced with great riffs and tricky fills, it really brings the action back to life after the previous track slowed it down by just the right amount. With a great headbang worthy pulse, it simply captures the attention and keeps hold of it, bringing tremendous energy to it and that shreding solo with some pounding riffs underneath hits the spot. Getting wilder as it goes on, the solo leads into a complicated sounding fast riff section where the guitars and bass harmonise with each other to great effect before the final chorus really brings it home. Short but with a great impact. “Never Be Enslaved” sounds like something out of the Iron Maiden back catalogue. Any moment now in the intro I’m expecting a “SCREAM FOR ME…..” shout ala Bruce Dickinson. The fantastic harmony lead and chordal approach from the bass with gradual drum build up really pumps the song up and when it explodes to life with that classic Maiden approach, it just sounds great. A sublime solo with a great bass groove underneath it nails the mood and the verse has the right pace to keep the energy going. Vocally its delivered great with the melodic voicing’s acting as an instrument in their own right, giving the chunky sounding riffs some flavour but when the chorus kicks in, it has that big moment feel. Powerful vocals, a rich bass tone which comes from an intricate bassline and some well phrased chords work to maximum effect. The break before the solo has a heavy kick to it and when the solo comes in, the rhythm is full on galloping power under a slick and technically sound dual guitar solo which hits the right balance between flair and structure. The harmony which follows again builds the mood, building the feel for a big sounding ending which really wraps it up nicely.

“The Dagger In Hand” kicks off with a bassline which has buckets of groove to it and a sweet sound. Steady drums and growing feedback slip into a heavy, chunky sounding riff fest with some tight vocal work which has some great power behind it and the simplicity of the chorus, those stabbed chords which pound away work great. Returning to the bassline and feedback, the second verse follows the same path as the first. It’s a classic metal track at just the right pace to headbang or drink and nod in approval to with plenty of scope for some fantastic sing along moments in the live setting. The twin guitar solo harmonies come in again over that pulsing bass riff and as the guitars work their way up the neck, it gets more intricate, growing more and more complicated with each passing phrase in the sequence and the end pay off – a furious sounding wild short solo which explodes to life before shifting into the chorus with no fuss in the slightest and it wraps things up nicely for the album closer. “The Wolverine” brings a close to proceedings with a rapid bass drum and guitar riff heavy intro which goes into that classic NWOBHM feel for one last time. With faster vocals, subtle but effective riff changes and tricky harmony fills, it just oozes heavy metal goodness. With a storming chorus it gets heavier and the dynamics, rolling the second guitar and bass in and out to give it an extra kick before the verse is a great touch. It ‘s just a solid track and like every track before it, it has that classic sound but played with a more modern feel, keeping both the great sound and appeal to it. For the final time we head into a slick sounding dual guitar solo run over a steady rhythm and as the two guitars trade off against each other, it gets faster and explodes into a great harmony ending before that classic metal riff comes in for the final chorus which draws a close to the album, ending in the most rock and roll way possible – the wild flailing round on instruments to give a chaotic and dramatic end to what has been a thoroughly enjoyable album!

On the whole, Night Viper is an astounding debut. It’s the kind of release which makes you sit up and take notice. It takes the classic, much loved NWOBHM style approach and sound and injects some modern kick into it, making the band sound like they belonged there in the early 80’s, on the road alongside Maiden, Priest, Saxon, Diamond Head and the other greats of 1980-’84. This is essential listening for all metal fans! You cannot miss out on this album. It is an all round solid with no weak moments whatsoever.

For me, this is a serious contender for Album of the Year.

(10/10 Fraggle)

 

Release date: December 4th