Monday, June 29, 2020

Fresh Tracks! Judicator - "Let There Be Nothing"


        I'm stepping a little out of my comfort zone for today's edition of Fresh Tracks with some Power Metal coming out of Tucson, Arizona via Prosthetic Records. Judicator dropped a lyric video on Prosthetic's YouTube channel on June 25th, 2020 for the title track of their fifth album "Let There Be Nothing". While I don't normally dabble in Power Metal all that often, I find that Judicator's story is humble and, in the words of the band themselves, serendipitous; the founding members of this band met at a Blind Guardian concert, became friends and started a band. They certainly hold to their interests and their beginnings with this new track. 

        Like many Power Metal tracks, the track has an overall epic feeling to it. The guitars, vocals, and bass all sound great, however, the drums I found were lacking in the beginning. I wanted some more punch from the snare, more presence in the mix. There's also a period where it feels like the bass drum is a hair of beat at ~0:54 and it slowly lags more and more offbeat, additionally it doesn't feel mixed well with the other percussion. 

        The intro starts strong with some chugging guitars backed by some clean guitar chords ringing out periodically. The tension grows and grows until the main riff is introduced. It's pretty excellent. As the quiet portions of the verse weave in and out you gain an appreciation for the band's control of their dynamic range. The chorus is excellent with the final line "Let there be light! Let there be nothing!" Fun fact, there are a few funny typos in the lyric video about halfway through. 

        The solo is excellent with dual guitar lead intro before switching to a fun Iron Maiden flavored section at ~5:11 that is quite enjoyable. At ~5:41 the solo kicks into gear with a classic Power Metal shred fest for about 20 seconds. We return to the verse, but it carries with it the frenetic energy from the solo, which is a welcome change to the song. The bass drum mix seems to have improved post solo as well. The song ends with a catchy call and response section I foresee working really well at live concerts if those ever happen again. 

        For me, the most enjoyable part of this band is that the lyrical content has substance. A quote from their Facebook page describes it as being "steeped in historical references and tales of the past. However, the blood pumping through the veins of the music is -as ever- rich with human emotion and rooted in universal experience, regardless of what era your fortune has dictated you dwell within." This album's narrative is centered around a Byzantine general named Belisarius and his quest to "reconquer former Roman territories". Their other albums are also historically inclined (per Wikipedia) as their debut album, "King Of Rome" follows the rise and fall of Napoleon Bonaparte, and their second album follows Prussian history and Frederick the Great.


        Judicator is John Yellend on vocals, Tony Codisco on rhythm/lead guitar, Jordan Elcess on bass guitar, Balmore Lemus on lead guitars, and Ulises Hernandez on drums. If you're into Power Metal or are a budding history buff with Heavy Metal tendencies, check this track out. You might be like me and find yourself pleasantly surprised at how much you enjoy the last 9 minutes of music. Judicator's new album "Let There Be Nothing" drops July 24th, 2020, and you can order it here. In the meantime, you can listen to the track here on YouTube. If you discover your love what Judicator has to offer, check out their Bandcamp here.
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Friday, June 26, 2020

Massive Wagons - "House Of Noise"


        Another fun discovery from a random walk down Internet Way comes a new single from Earache Records titled "House Of Noise" by UK Band Massive Wagons. Hailing from Lancaster, England, this Rock band got their start in 2009. This is a little lighter fare than the usual offerings from Mainly Tuning Out, but it makes for some fun listening. It's refreshing to hear some straight-up Rock in this world of sub and microgenres. "House Of Noise" is the title track from their upcoming album.

        I get a blend of Mike McColgan, David Lee Roth, and Bon Scott when I hear this vocalist sing, less in tone and more in attitude which is enjoyable and scratches that nostalgia itch. However, I wouldn't say this music feels nostalgic. It feels like what a Rock band would sound like in the 2020s. A slight Ska Punk feel minus the skank and the brass, the punchy tone of Hard Rock without the edgy moody vibe, the crisp rock sounds of ACDC without the weight of tradition. I'm surprised they haven't hit radio airplay in my area because I think they'd do well. 

        The song starts with a crisp overdriven guitar riff that climbs up and up, and on the repeat, the vocals and drums join in. It keeps adding layers before it punches through to a bouncy and fun chorus: "I'm just smashing my face into another tomorrow, closing today go over yesterday's audio, killing some time till I'm flushed out or told to go. I'm only killing some time inside my house of noise, killed by the climb, killed by the lows and the highs, killing some time till I go deaf in my house of noise." It also features a pretty classic-sounding solo that, I feel, doesn't disappoint. It flows really well, and feels very well crafted in its sound.


        It shouldn't be a surprise to discover that several publications list their influences as being bands like Rainbow, Slade, and UFO. They've got four albums and an EP under their belt with their fifth album "House Of Noise" dropping July 17th, 2020 via Earache Records. If you're looking for something fun to listen to and you're a fan of "wild, ballsy and LOUD old school rock n’ roll" than this should the trick your looking and then some. And if you dig this track you should definitely check out "Bangin In Your Stereo". Should you enjoy what you hear then check out the link below to pre-order this album.

Listen to "House Of Noise" here
Listen to "Bangin In Your Stereo" here
Pre-order "House Of Noise here
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Wednesday, June 24, 2020

Fresh Tracks! - Skeleton & Lamb of God

        We're skipping Jazz day for this week as two tracks caught my attention that I wanted to share. First up is a new-to-me band that has an album up for pre-order on 20 Buck Spin called Skeleton. After digging around the internet I found a bio of Skeleton placing them in the Austin Texas scene forming in 2014 and contains Victor Ziolkowsky on drums and vocals, David Ziolkowsky on guitar, and Alex Recide on bass. The song is called "The Sword" and it's this funky blend of punk, a hint of hardcore, and a healthy dose of Black 'n' Roll, which is a blend of Black Metal and Rock 'n' Roll made popular by bands like Kvelertak and Midnight. 

        "The Sword" starts with a high distortion tone with a slow and ominous intro lasting ~28 seconds. From here on in it's this Thrash/Black Metal/Rock experience with a vocalist who sounds like Tim Armstrong of Rancid if he joined Darkthrone, which oddly isn't a bad thing. It spends the rest of two minutes bouncing back and forth from the pummeling Rock verses and the evil Black Metal choruses. Lasting two minutes and 27 seconds in total it's hard not to want to play this track a few more times and just rock out. Check it out the track here on YouTube. If you like what you're hearing you can pre-order the LP here at 20 Buck Spin. It will be shipping out on July 10th, 2020. 


        Next up is a track off the new self-titled Lamb Of God (LOG) album that was released June 19th, 2020 titled "Gears". LOG has been putting out music since 1994, and this album marks their tenth studio album (if you include the two releases under the name Burn The Priest). It seems to be getting solid reviews, and I look forward to taking in the whole album this weekend. 

        While I don't know LOG's discography as a whole, this track was excellent! The riffs are gripping, the tone is tight, and Randy Blythe's vocals still sound great. It really gets the headbanging going, and that chorus riff might be one of my favorites they've ever offered. Lyrically you're getting some pretty typical offerings including critiques of consumerism and man-made annihilation, but it fits in the music perfectly and is well written compared to many other metal tracks (here's looking at you LoBodomy! Sorry Children Of Bodom, they can't all be winners). 


        It's great to see such an established band continue to put out some quality music. There aren't many metal bands that can continue for 26 years and still sound fresh. Where I to guess, I'd say it definitely helped that they went on two hiatuses as breaks are important. You can listen to "Gears" here on YouTube, and you can pick up the album here at their store.

Have a great week everyone! 
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Monday, June 22, 2020

Spirit Adrift - "Angel & Abyss Redux EP"



        Heavy Metal/Doom Metal outfit Spirit Adrift dropped an EP titled "Angel & Abyss Redux EP" on June 18, 2020 to support one of Bandcamp's donation campaigns. The release is supporting the June 19th, 2020, NAACP Legal Defense Fund campaign, and further, they've decided that "100% of proceeds from this EP will be donated to the NAACP Legal Defense Fund, in perpetuity." It's been refreshing to see so many bands setting things up to contribute to so many causes these days.

        The first track is the title track "Angel and Abyss Redux". Seeing redux in the title I realized this had some older material it was referencing. According to guitar and vocalist Nate Garrett, it is performed with an "unplugged" vibe to it, featuring clean tone guitars and a hint of reverb/delay to give it that unplugged experience. The original was released in 2019 on Spirit Adrift's album "Divided By Darkness". I scrubbed through the original and honestly, I like this version a lot better. It feels like a much more cohesive product with some excellent musical moments. The dual guitar riffs really shine in this version. My favorite though is this punchy riff that takes over at ~4:30. It feels like this weirdly great blend of Doom and Prog, like a Jethro Tull with attitude. This was the strongest track on the EP.

        Track two is "I Think Of Demons" and it's a cover of Roky Erickson & The Aliens. It's a fun acoustic psych-pop track that holds true to the original pretty closely. The leads sound great, and the overall track is pretty fun to listen to. However, this is a strange turn for an EP from a Heavy Metal group. Were someone to send me this track and only this track, I'd never guess they were a Metal band. Still, it's worth a listen.

        Track three is a cover of the Jimi Hendrix Experience's track "The Wind Cried Mary". This is arguably my favorite Hendrix track, and this cover had a high bar to clear. Garrett claimed "The Wind Cries Mary" was "one of the first songs I ever learned to play, and Hendrix is the reason I picked up a guitar in the first place. Another obvious choice." Unfortunately, this was, for me, the weakest track on this EP. It was an interesting choice, but the guitars are so washed out in the mix that those nuances in the riffs are almost lost, and the solo really suffers due to the reverb wash as well. It does provide a sense of being otherworldly, which might be the only saving grace of the mixing choice. The vocal performance is great, and on the final "The Wind Cries Mary" there is a great vocal harmony that spiced things up. I wish they had explored the vocal harmonies more, as it may have added something back into the mix that was lost with the guitars.

        With a run time of 12 minutes and 11 seconds, this EP is a quick and dirty listen that is worth checking out. Buying it supports a good cause, and it's a pretty fresh take the tracks featured. Favorite track was the title track, but that Erickson track is absolutely worth checking out as well. This EP was released on the 20 Buck Spin label and features Nate Garrett on guitars, vocals, and handclaps, Marcus Bryant on bongos and shakers, Leon Del Muerte on synths, and Mystical handclaps by Hosianna Mantra.



Buy this EP here
Listen to this EP here
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Friday, June 19, 2020

This Will Destroy You - "Vespertine"


        I came across this odd release while poking around some news sites and the newsletters I get from various labels. A Post Rock release from Los Angeles, California based band This Will Destroy You offers the listener 58 minutes of some calming ambient music that is reminiscent of Explosions In The Sky and some moments of Godspeed You! Black Emperor. Based on my initial research it appeared this was released June 9th, 2020. 

        However, this is not the case. The background behind this album is not your typical story. Vespertine was crafted to function as the score to the identically titled restaurant opened in Culver City, California in 2017, but the release was offered for public consumption this year. The band walks you through what each piece is attempting to accomplish for the restaurant experience on their bandcamp, found here. 


        On face value, it does seem ridiculous, but I started reflecting on the fact that movies are scored, television is scored, etc. Why is it so crazy that a high-end restaurant experience would be scored? Most restaurants have music playing in the background, and I don't think it's too big a step to have custom made music specific to your venue if you can afford it.  

        Musically this is definitely an instrumental Post-Rock album. It has the typical swells and echoing dynamics that create these ambient moments that hang in the air. These moments are quite calming but don't grip my attention. I suppose this is the point of an ambient piece of music, but were I not watching the screen, I couldn't tell you where one track stopped and another started. 


        While researching this record I found quite a few highly positive reviews, even one was a 10/10. This is not a 10/10 album for me, but I also don't normally gravitate to this genre, so I don't feel comfortable panning it as a release. From my perspective, it's perfectly okay, and I believe it serves its purpose for the restaurant Vespertine. If you love Explosions In The Sky or previous releases of This Will Destroy You, I highly encourage you to check this out, because I truly believe it would be right in your wheelhouse. 

Buy the album here
Listen to it here
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Wednesday, June 17, 2020

The Jazz Project - Album 96: Medeski Martin & Wood - "Combustication"

        To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 96
Medeski Martin & Wood - Combustication
Drinking: Mast Landing's Gunner's Daughter, a peanut butter milk stout

Photo Source: https://medeskimartinandwood.com/wp-content/uploads/2017/12/combustication.jpg
  1. "Sugar Craft": An excellent funky intro, I love the slight distortion on the keys. The samples give this song some texture that evokes a feeling of riding around on a hot bustling day, taking in the sounds of people yelling, cat growling, and the general feeling of a city/town. The music is lively and vibrant. At ~2:50 there's a siren sound that breaks into the track like a big fire engine going by. 

  2. "Just Like I Pictured It": This track is smooth with some lovely bass tone. The sauntering pace of the song is perfect for the riff the band is playing around. It creates the feeling of plodding along the street being as chill as can be. The whole experience is quite pleasing to listen to. It doesn't transport me anywhere, but it's just so groovy, I want to loop it over and over. This would be a great track to cook along to. 

  3. "Start·Stop": The album takes a nice change of pace from the previous two tracks with "Start·Stop". It's very textured in its tone and feels like a trance. Sliding into the mix is a captivating drum and bass groove, and it's so natural in feeling that I had to restart the track to make sure it wasn't there from the beginning. The music feels like a mural that could be read as sheet music, it's entrancing. Peppered through are these tasty bass licks. The music grows through the whole track to the brink of feeling menacing but never goes over the edge. At ~4:22 the track enters into this new spacey section. The groove has transported you to deep space. The turntables speak to you in nonsense, almost like someone is trapped in the record trying to break out. 

  4. "Nocturne": The chord progression the bass is playing around captures the sound of looking at a frosty field on an overcast November day. It's cold and bleak, but still pulsing with the potential of life among the deep soil and wildlife. The keys provide a haunting wind sound that backs an excellent bass line. At ~2:00 the windy keys trade out with percussive bird calls. The windy keys return around ~2:40. It's eerie stuff, and it's my favorite track so far. 

  5. "Hey-Hee-Hi-Ho": This track returns the feeling to smooth funky tunes. One of my favorite aspects of the song is the way the instruments are playing with silence, weaving among each other. It's a very cool sound. Not much else to say about this track besides its pleasing funkiness. 

  6. "Whatever Happened To Gus": This track features another really tasty bass lick right of the gate. If you're a fan of bass, this album seems to be a great place to hang your hat as the bass shines on this record. The voice-over featured on this track is really cool. The keys provide some excellent and tense counterpoint to the smooth groove of the bass. The spoken word is captivating. Perhaps it's a piece about a vision, trip, or a dream. Possibly it's highly imaginative pondering about the lost fate of Gus. 

  7. "Latin Shuffle": The song starts with a moment where the drums try to find their feet. Quickly it develops into a fiery Latin feeling, and the bass firmly holds a standard jazz riff over it. The piano echos over the bass and drum and slowly overtakes the rhythm. It's like its exploring a struggle with the bass representing tradition  and the drums representing the Latin influences, while the piano is articulating the conflict between the two. This is the longest track on the album. By ~3:30 it's complete chaos between the drums and piano with the bass joining in at ~3:50. At 3:57 the drums segue into a flavorful solo. The track returns to the original riff from the beginning at ~4:50. The band finds mutual harmony at ~6:06 and riffs around at the same pace. There's a groovy keys solo at ~6:34. The song grooves it's way out with a bass solo at ~7:45. 

  8. "Everyday People": This is a Sly And The Family Stone cover. It's an eerie start that segues into the meat of the song. It sounds like the start of a weird carnival horror movie. At ~0:45 the bass brings the keys into the song where the band starts playing with the tune from Sly. A slower track for the band, but there are moments where I feel like the band is chomping at the bit just under the surface, but I have no evidence to back that up beyond instinct. I'm not wowed by this song so far as I round the 4-minute mark. Perhaps it's functioning as a juxtaposition from the original that provides the substance/meaning of this track. 

  9. "Coconut Boogaloo": First of all, fun name. This is a funky fun track. To me, it feels like you're walking through an exotic market where each moment, each stop brings you something funky and new. Fits in with the quirky nature of this groovy jam. 

  10. "Church Of Logic": The title of this song possibly stems from the addition of collaborator DJ Logic. It starts with some fun turntable work over some very quiet and echoing keyboards. It's a quiet track that feels withheld but in an oddly comforting way. DJ Logic plays with the texture created by the band in a very exploratory way. On the face, you wouldn't think it would fit, but it's the same feeling as watching the last few pieces of a puzzle fitting into place and suddenly you see the whole picture. 

  11. "No Ke Ano Ahiahi": I was looking forward to this track as it's a traditional Hawaiian song.  As it starts, it's mellow and pleasing. This song keeps you in the zone as it fades in and out of the regular chords and solos. It was a very enjoyable track. 

  12. "Hypnotized": This song starts like a 70's prog-rock song. Did Rush co-opt this intro? Did Medeski Martin & Wood? I love the piano chords that ring through. Someone is using the sound from the beginning and manipulates it to sound like an organ or a highly distorted guitar through a wah-wah pedal, which is wicked cool. This is a very cool jam to close out the alum. It feels like the vehicle and foot traffic of a town on a rainy day. 

  13. "Combustication": This is a hidden track found about 7:37 into Hypnotized. I find it interesting that the title track to the album is a hidden track. It's a very eerie track that's haunting and echoing. It segues into this crazy free-form racket that I can't seem to pull away from. Next, it moves into this tense jam where the keys seem to be locked into two chords over and over while the bass runs loose over it. Perhaps they are trying to personify the life cycle of fire. 
Overall Thoughts: I loved the rhythm and groove found on this album especially when it kept changing from being upfront and personal, or interwoven behind the chaos. I envisioned a mad scientist dressed like the grooviest dude playing in a sound laboratory. Because I'm still developing my free-jazz ear, some of this was lost on me. However, I still feel it is a fresh sound and holds up to the pantheon of history that stands behind it.

Photo Credit: https://medeskimartinandwood.com/wp-content/uploads/2018/01/MMW-Suits-photo-Danny-Clinch.jpg

Info: This album was released in 1998 via the infamous Blue Note Records, and was recorded in The Magic Shop in New York City. Wikipedia classified it as jazz-funk, jazz fusion, and acid jazz. Allegedly this was also the first commercial jazz album to include a turntablist/DJ in the lineup. Combustication features John Medeski on keyboards, Billy Martin on drums/percussion, Chris Wood on basses/bass drum, DJ Logic on turntables, and Steve Cannon spoke words on track 6. 

Buy the album here
Listen to the album here
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Monday, June 15, 2020

The Devil's Trade - "Dead Sister"


        Today we're diving into an international offering, one that is quite new to me but definitely worth your attention. Dávid Makó, of Budapest, Hungary is releasing Doom Folk under the moniker of The Devil's Trade. This track features vocals, guitar, and a banjo. I loved the somber energy of this track and the cold wintry feeling of the music. "Dead Sister" is a release off the forthcoming album The Call Of The Iron Peak.


        The track starts with an echoing guitar, with a clean tone, meditating on this riff. A banjo joins in to give the music a bit of a rhythmic backbone. Vocals enter the mix, and his vibrato heavy voice sings "O my brother oh my, your wings darken the night sky, and the fire made the flesh cry. All these lives around us, hiding in the dark, waiting for the feast to start." The words and the music create this cold, haunting, beautiful moment. The intro verse is repeated, as the music and vocals grow more intense, yet never leaving that clean tone.

        A second verse starts at ~2:19, with Makó's voice yelling into darkness, "Don't leave now, watch them stars die, the end is whirling around. Don't leave now, dead sister of mine, so we meet it's time, don't leave now. If only I could see your smile." The emotions and feelings these moments evoke are ghostly, eerie, and steeped in sorrowful memory. Makó sings into the void again backed by even more intense music at ~2:57 repeatedly saying "don't leave now," before ending this section with "if only I could see your smile." It is dripping in melancholy and pain.

        With the utterance of "smile", the echoing guitar effects disappear, and we're returned to a cold and sobering moment where Makó sings "My brother, O my brother, The wind says it's still not time to meet her, my dead sister." This repeats , like the previous verses, and I wonder if he's speaking to someone or himself. Is he contemplating killing his companion, only to realize that the time isn't right, and this person will have to wait to meet this dead sister? Is it perhaps its the character's own will to continue going instead of giving up and letting nature take him to his sister? Perhaps listening to the whole album will yield these answers


        Dávid Makó delivers a haunting piece of music that's gripping and evocative. I look forward to hearing the rest of this album, and to digging into his other releases. He's making his Season Of Mist debut with his album The Call Of The Iron Peak, which should be released August 28th, 2020. According to his bandcamp, he's been releasing music since October 2014. I've also included his bio from his Season Of Mist page because it paints a very descriptive picture of this artist:

        "Be it the folk of the Appalachians, the tales of Hungarian and Transylvanian traditions, singer-songwriter Dávid Makó, who redefined himself as THE DEVIL'S TRADE a few years ago, fuses his past of metal and his roots laying deep in the folk songs of his immediate surroundings. Very much like the Iron Peak, a mountaintop both metaphorical and literal is calling for Makó, he is calling for you to share his rituals of loves and hopes lost and found along the pilgrimage of his. It is after all, the journey itself that matters the most, and how you adapt. From basements in his hometown of Budapest, to all corners of Europe, stages small and big, THE DEVIL'S TRADE has been relentlessly walking on his path finding his voice and calling, and that is to let listeners to glimpse into himself through his heart wrenching songs."

Check out "Dead Sister" here
Pre-order The Call Of The Iron Peak here

Bonus! Living Gate's EP is streaming in full on YouTube! Check it out here
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Friday, June 12, 2020

Bell Witch/Aerial Ruin - "The Bastard Wind"


        Doom Metal up and comers Bell Witch has teamed up with Erik Moggridge, who operates under Aerial Ruin, to release the album Stygian Bough Volume 1. Today we're digging into their new track "The Bastard Wind", which truly does not disappoint. From the Bell Witch bandcamp: "The collaboration results in five hauntingly beautiful, strikingly heavy songs on an album of deep, dark undertows and careful respite." I couldn't have said it better myself. 

        Dylan Desmond is on bass and vocals, Jesse Shreibman is on drums and vocals, and Erik Moggridge is on guitar and vocals. The track starts with an acoustic opening with Pink Floyd-esque vocals. The effects on the vocals are perfect. It is hymn-like, or like the quiet song at the beginning of a journey into the unknown on a foggy morning. It's haunting and delicate, like the slightest gust of wind could cause it to topple over. There are some sonic textures happening in the background that might be a synth or some guitar/bass effects, but they add a delightful layer of mysticism to this quiet moment. 

        At ~3:10 it switches to this haunting moment with a slower quarter note riff repeating over and over, backed by the occasional cymbal crash, and this weird hum from a synth, or slight feedback from an amplifier. It very much feels like fog rolling into a small coastal town shortly before a terrible snowstorm. It's calm, yet very foreboding. 

        Classic Bell Witch kicks in at ~4:07 with some crushing tone and ominous layers of instruments. The only thing that feels off is the mix which is a little muddy, but this quite possibly was a creative choice. It still holds that delicate beauty of the beginning, but it's juxtaposed by this blanket of immense Funeral Doom that counterpoints it well. ~6:08 brings the listener into a new section. The bass drops down into a lower and more evil sounding riff. Surrounding this riff is some excellent tonal texturing that grips the listener, strapping them into a journey into the blackness of Doom. 

        There's a return to the verse riff at ~7:25. The repetitious riff hangs in the air like a thick fog. The vocals are a deep growl just audible over the music as if they are being spoken from the deepest depths of your mind. Another change happens at ~ 9:57. The tension is increased up by this new riff and is soon joined by the bass which brings some darkness to the fog. It sounds like slowly slipping into a black hole. 

        The band introduces a new moment at ~11:53 with clean vocals again. There's a slight OM/Middle Eastern vibe to the vocals, and they alternate around these huge single strummed chords. It's gripping and scary, and sounds like a ritual summoning an unnamed horror from below; it's a cool moment. We return to a variation on an earlier movement at ~14:07. This moment feels like a small reprieve from the crushing nature of the previous section. 

        It segues to a small but beautiful section at ~16:32. There are mammoth chords with an eerie solo. It feels like the end of a journey. Vocals ring out once more, hanging in the thick wall of sound, just breaking free in the mix and bring the song coasting to a close. 

        I can't stress this enough. If you like Doom Metal, and more specifically the sub-sub-genre (microgenre perhaps?) Funeral Doom, you should check this out! Minor mix issues aside, which could be a creative choice, there is very little about this I don't love. Ringing in at 19 minutes and 9 seconds, this is a massive track. Tracks of this length run the risk of getting boring, but Bell Witch and Aerial Ruin have threaded the needle by having enough movements and variations to keep it interesting yet cohesive as a single track. This shouldn't be too surprising since Bell Witch's last release Mirror Reaper clocks in at over an hour and is a single track. 



        Bell Witch is a Doom Metal duo comprised of Dylan Desmond and Jesse Shreibman who released their first demo in 2011 and have been working under Profound Lore Records since 2012. They are based out of Seattle, Washington, and have been enjoying praise and acclaim around Mirror Reaper. Aerial Ruin is an acoustic solo project coming out of Portland, Oregon helmed by Erik Moggridge. Stygian Bough Volume 1 is dropping 6/26/2020 through Profound Lore Records and is available for pre-order now. 



Listen to "The Bastard Wind" here
Pre-order Stygian Bough Volume 1 here
You can find Bell Witch and Aerial Ruin on Facebook. 
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Wednesday, June 10, 2020

The Jazz Project - Album 97: Tomasz Stańko - "Soul Of Things"

        To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 97
Tomasz Stańko - Soul of Things
Drinking: French press coffee with a splash of Glenlivet 12


  1. "Soul Of Things, Var. 1": I love the soft, elegant start to this track! The trumpet achieves this slow slinky sound that is really tasty. The experience is very reminiscent of Miles Davis to me. Part of me feels like I'm watching a Bogart film or parts of "La Dolce Vita". I'd throw this on for some good reading with a favorite scotch or sipping gin. As this song continues on I start getting this feeling of a lonely soul searching for something, and it's not sure what it's searching for. Bittersweet. 

  2. "Soul Of things, Var. 2": My immediate feelings are a smokey room through the eyes of a femme fatale. It bounces through moments of aloofness, melancholy, and sass. At ~1:45 there is a moment that feels like someone walked into the room and caught their eye. The tone shifts to a casual romance feeling, like a silent walk together through spring rain. At ~3:13 the song returns to that smokey room moment. Again, like Var. 1, I get this feeling of someone searching, unsure of what they're looking for. The musicians interplay extremely well and the recording is super crisp. At ~5:55 the mood shifts again, this time to a cool and classy bass-line. Perhaps another interesting person walked in, or the main character has surrendered the evening to listening to the jazz band in the corner. 

  3. "Soul Of things, Var. 3": This has a great pulse underneath it, very alive. I'm envisioning a gumshoe (where are all these old crime movie tropes coming from?) walking through the night. Each moment is the detective passing another jazz club or passing an interesting person on the street. At ~1:20 it feels like we're listening to this character's brain working on whatever case is at hand. The tone is deliberate and steady. There's an excellent piano solo at ~2:06, I loved it. The song shifts to a menacing undercurrent running through a city and then shifts to that street groove from earlier. 

  4. "Soul Of things, Var. 4": My immediate feeling is staring out of those tall glass windows commonly found in city loft apartments from TV, watching the world spin by while feeling trapped. or perhaps it's looking at old photos of a love who is gone. Bittersweet. As I'm listening I can almost feel a thumb flipping pages of an old photo album. Also, the feeling of rainy days. Again, the clarity of this recording is fabulous. Each piece of the group is working together without overpowering the others. That bass tone is awesome! Something is relaxing about the dynamic rising and falling feeling of this song. 

  5. "Soul Of things, Var. 5": A word that comes to mind again is slinky. Dark nights, someone put up to a task they don't want to do. But in another way, the trumpet has this feeling of optimism. I really like that drum fill at ~1:37, very quick and sharp to wake you up. No characters or moments are coming to mind, but I do feel this optimistic frustration. The drums in this track have some great attitude, especially with these fun off-the-cuff fills and rhythm choices. 

  6. "Soul Of things, Var. 6": Each track has this somber start to before it takes shape. It would be interesting if each variation was the same start to an evening, but for different people in the setting, whether it's a town or a city. Maybe it's the start of the day, but I prefer the idea that it's the start of an evening especially when looking at the cover. The cover looks, to me, like the artist painting themselves looking at a sunset. This track has a warm, relaxed feeling to it. A child going to bed, wrapped in a blanket, saying goodbye to the day. 

  7. "Soul Of things, Var. 7" Fun symbol play starts this song off. It feels like it's an industrial park. It has this very slight menacing feel. Perhaps its a gang coming out for the night, like cats slinking out from their hideouts to explore the dark streets. Unlike the previous track, this feels like its saying hello to the night, but in a forlorn way. Perhaps the character(s) are going to something they don't wish to do. At ~3:33 the music takes a mellow and somber shift; perhaps it's bad news? All of a sudden I get this feeling of a bird flying over the street where two groups are fighting and it feels sorry for them, as they won't ever know the peace of flying over the streets, of flying above the problems. 

  8. "Soul Of things, Var. 8": I get this homey vibe to this song. It's like all is well, or like a restaurant/deli owner enjoying the calm of a lull. Business is good, but it's always nice to catch a breath. At ~0:55 business starts to trickle in for the late-night rush. It keeps ramping up. The drums carry this moment. The 2nd half evokes the feeling of closing up the shop. 

  9. "Soul Of things, Var. 9": Immediately I get feeling of being high at the top of a tall tower looking down, unsure how to get back down. Somber reflections. Perhaps we are being transported to the dusty corners of this person's mind as they ramble through their memories. At ~4:00 I start getting a different vibe: an old man burning time in his apartment. Everyone he knows is gone, and his favorite hangouts have been sold off to become new clubs. He just sits, listening to old records and dogs barking outside in the ally, just waiting for it all to end. Somber song. 

  10. "Soul Of things, Var. 10": This immediately gives off the vibe of a young person hitting the town for fun! Perhaps a budding jazz singer prepping for a night of performance.The song has a great groove! Again, the bass has this on lock-down with the drums, solid rhythm section. Some excellent soloing from the trumpet on this song as well. The night feels alive! It feels like they are performing a jazz concert in these short little bursts of ideas. At ~4:15 the concert is over and the young performer is riding an adrenaline high off into the night, looking for good times. The drums feel like the quiet sound of traffic in the street. 

  11.  "Soul Of things, Var. 11": The bass sounds much like Jaco Pastorius in this song. This has a slight drunk feel to it, like someone who's been day drinking and is now trying to stumble home in the twilight. The tone is indignant like they're trying not to care while people stare and judge them on the walk home. There feels like some minor arguments on the way. At ~3:30 it feels like they're attempting the difficult task of ascending the stairs. At ~4:00 they've finally made it into their home and they're trying to get settled in. It's off-kilter because of the stupor, but it all sounds more deliberate than the beginning of the song as if the character has sobered up. 

  12. "Soul Of things, Var. 12": I get the feeling of a cab driver working the evening. It's their Nth night straight. The trills and shocks of the night no longer surprise them. They're just cruising through the night  trying to get by. This track was underwhelming to me compared to the rest of the album. Perhaps it's album burnout, but I can't be sure. It seems to lack the cohesion of the previous performances. 

  13. "Soul Of things, Var. 13": Very delicate. The trumpet solo starts off this song. I'm amazed at true single instrument solos and how musical it can be with nothing behind it. At ~1:33 the rest of the band joins in on a delicious chord. The trumpet solo feels like a baby's cooing and cries. The band feels like a mother tending to the baby/trumpet with warmth and understanding. I'd like to think it's the city embracing its inhabitants regardless of who they are or what they're doing. It only wants the best for the people and its streets. It also feels like a nostalgic goodbye, knowing that when you return it won't be the same anymore. Honestly, this is a great album closer. 
Overall Thoughts: Given that each track is called variation number ___ I very much feel like each song is a story/narrative. I enjoy the idea that it's a single night inside a city and you're hearing stories from the various characters. It created a movie-like experience that felt unique. I loved 95% of this album. This was a stark emotional contrast from the anxiety The Bad Plus shared with their listeners. 

Info: This album was released on March 11th, 2002 through the ECM label. It was produced by Manfred Eicher and recorded at Rainbow Studio in Oslo, Norway. Tomasz Stańko is a Polish jazz trumpet player who's been active since the 1960s. He wrote this album with a trio of musicians he mentored, which gives the music an intimate feeling. It makes sense because they can share the nuances of their relationship with the listener. It features Tomasz Stańko on trumpet, Marcin Wasilewski on piano, Slawomir Kurkiewicz on bass, and Michal Miskiewicz on drums. 

Buy the album here
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Monday, June 8, 2020

Rush - An Astonishing Career


        On January 7th, 2020 the world lost an amazing musician, Mr. Neil Ellwood Peart, drummer of the rock band Rush. In memory of Peart's passing, and for my own musical education I took on the task of listening through the entire Rush discography. I've heard the hits here and there, but I've never done the deep dive. Over this last weekend, I had the pleasure of taking in the final album and completing that journey. 

        It was quite a ride. With 19 studio albums and 2 extended plays under their belts Rush's career spanned a whopping 50 years. The trajectory of artistic growth was largely visible, but being the creative minds they were and are, some moments were surprising. Even these surprises were enjoyable.  

        Were you to look up a ranked list to two, you'd find that collectively Moving Pictures was ranked their best album, with most other lists ranking 2112 a close second. While great albums, I wouldn't put these at the top of my list. This is one of the great things about Rush's career, they have something for everyone. These ranked lists also reflect this because you start seeing the lists diverge from each other from the number three slot forward (except for Snakes and Arrows, which consistently landed near the bottom of lists much to my surprise). 



        It's easy to see why Moving Pictures lands at the top of the list. It comes out swinging with what I'd argue is their most popular song, "Tom Sawyer". It's got a killer riff, excellent synth parts, and quality, infectious lyrics. You get a small break with "Red Barchetta" before heading into two more powerhouse songs "YYZ" and "Limelight". Not only are these catchy songs, but they also used new-for-the-time tech and had spent 13 years developing a reputation for excellent live performances. 



        2112 also makes sense as far as the overall history of Rush and why it would land in the second slot in most ranked lists. It was a bold album and an extremely bold move for the band to release it especially after the critical (and in my opinion, with the benefit of hindsight, unwarranted) panning of the previous release Caress Of Steel. Caress Of Steel was not well received due to two concept pieces featured on the album, "The Necromancer" and "The Fountain of Lamneth" both running 10+ minutes in length. It took a lot of guts to look in the face of the potential flop and go on to write one of the most well-received concept pieces ever penned, 2112. It featured the self-titled track on the first side of the record with a run time of 20 minutes and 34 seconds. It's got a great story, a mysterious ending, dynamic sound, and excellent songwriting. 2112 was a smashing success and put Rush on a path of conceptual prog albums that still are highly enjoyable to this day. 

        I believe most hardcore fans would be a bit bewildered with my picks if you bumped into me on the street and asked me to pick my top 5 favorite Rush albums. Honestly, I haven't listened to all of them enough to make a truly informed decision, but having just gone through the whole list I'd suggest, in no particular order: Fly By Night, Hemispheres, Clockwork Angels, A Farewell To Kings, and Snakes & Arrows. They're great albums full of great songs and great riffs and are definitely worth your time to listen to. 

        However, there really isn't a bad album in the list. If you're not a fan of synths I'd possibly skip over the mid-career offerings, but I'd encourage you to give them a try anyway. They took a lot of risks in that period and it was exciting to take it in, especially since they're a trio. Big sound for a small group. If you're not into the harder rock sound, I'd suggest you stick to the earlier two-thirds of their career. 

        Lastly, I want to say thank you to Mr. Neil Peart for sharing his talents with me and the rest of the world. From the research I've done, you lead an interesting, and at times a very difficult life. So many drummers have been inspired to pursue music and I've been inspired to pay more attention to percussion when I'm listening because I learned how textured they can be. The world is lesser now that you're gone, but you will be remembered for many years to come. Rest easy and Rock on! 



You can find tons of merch, lyrics, and much more at Rush's website found here

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Friday, June 5, 2020

Soilwork - "Death Diviner"


        It pains me to admit it, but I was late to the Soilwork party. When Verkligheten was released is roughly when I hopped on board. Even to this day, you can probably find me playing air guitar to "When The Wolves Are Back In Town" when I'm attempting to make dinner. The biggest shame is I haven't found the time to jump into their back catalog (which is 11 albums thus far) as deeply as I'd like. I was pleasantly surprised to come upon this track, which is the closing track to a new release titled The Feverish Trinity. The band describes this trinity as: "[celebrating] the Babylonian Death Goddesses that once made the world a more feverish and exciting place." There's a trailer titled "Behind The 'Feverish' Trinity (OFFICIAL TRAILER)" which can be viewed here. It promises to be quite enjoyable for Soilwork fans. 

Today we'll be focusing on the (seemingly) last track of this project, "Death Diviner". The intro immediately took me back to riffs written by Tool, which for this writer wasn't too exciting. But as the rest of the band filtered into the mix, it shifts from "Jambi"-esque/"Lateralus"-esque to something that feels very much like Soilwork. With the backbone of the bass line and the punchy drums "Death Diviner" gets the head bouncing. The vocals are excellent. They sit in the mix perfectly, even during that huge chorus. The solo at ~3:39 is excellent as well.

        Were I to be honest, the thing I really enjoy about this track is that it feels like a Doom Metal track sped up. The riffs, vocals, and that somber middle section starting at ~3:03 give this song a definite Doom feeling were it to be performed slower. Don't get me wrong, I think the song definitely works as it is, and should remain that way, but there are elements that take me to the land of Doom, which is of my favorite genres. That's one of the things I've grown to enjoy from Soilwork, they thread the needle between genres tastefully. A little smear of Thrash here, a dab of Doom over there, and a little brush of Groove tucked in the back, and yet it still feels like a very honest offering from a well-established band. It keeps them sounding fresh without taking away anything (at least from the perspective of a newer fan). 

        The lyrics are pretty great as well, opening with "got my blessings from a death diviner. Cut my shackles with the force of life that slipped away oh, and left me drained." It starts the track off with a great hook. The contrasting ideas of blessings from a being of death, and being freed by something that drains away life force is worth mentally chewing on. What I really enjoyed though, was the chorus: "When the skies remained an empty threat above me, but the weight of everything that came to pass brought me down to kneel before the death diviner in the hopes she would make me free at last." Back by some pounding double kick drums, this chorus caught my attention. I look forward to listening to the previous two tracks to gain more context for these lyrics.

        As of writing this, there doesn't appear to be an official release available, but the band hinted that it should be coming soon in the comments of the YouTube video: "Thanks everyone for checking in during the premiere! We are so happy that you like Death Diviner 🙏🏻 Stay tuned for exciting news soon... ✌🏻" If this track piques your interest, stay tuned for more.


You can find the video for this song here
You can find Soilwork's website here
Soilwork's Twitter is here


        I'd also like to add two honorable mentions for you to check out. If you're into Doom Metal, Sorcerer has a new track out called "Age Of The Damned" and you can find it here. There's a strong Candlemass vibe to it and it's definitely worth checking out. If you're into Hardrock/Sludge Valkyrie has a new track out via Relapse Records titled "Feeling So Low" that can be found here. Valkyrie features former Baroness guitar player and vocalist Pete Adams, and this track is also worth a listen.
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Wednesday, June 3, 2020

The Jazz Project - Album 98: Courtney Pine - "Journey To The Urge Within"

        To further my understanding of Jazz, I'm listening through Jazzwise Magazine's "The 100 Jazz Albums That Shook The World". Each album is presented with my stream-of-consciousness thoughts for each track, my general thoughts of the album as a whole, and any relevant information I can capture about the album. Also included is my drink of choice while taking the album in. Thank you for joining me on my journey to [partial] Jazz enlightenment.

Album 98
Courtney Pine - Journey To The Urge Within
Drinking: Founders All Day IPA

  1. "Miss Interpret": A great intro track to the album with a solid mix. It definitely captures that 80's sound. That tune is amazing though, Pine has great chops. There is a nice blend of contemporary sounds with an old school backbone. The intro and outro feel very reminiscent of Watermelon Man by Herbie Hancock. I wish it had a more defined ending than a fade-out.

  2. "I Believe": Very smooth tone here and another lovely intro. I'd listen to this on my walk home any day. This effortlessly bobs and weaves in and out of improv and the main riff. The sporadic jaunts of improv don't feel too jarring either. Perhaps it's the Coltrane I started to digest over at the beginning of this year. 

  3. "Peace": This song is a great followup to "I Believe." It's a cover of a song by Horace Silver. It's soulful, and it makes me wish I was sipping on something a tad more classy than a session IPA. I wonder how this compares to the original. I'm glad there are passages where Pine lets the piano take the main-stage. 

  4. "Dolores": A cover of the Wayne Shorter tune, and it certainly feels like a Wayne Shorter piece. Again, I would love to hear the original. I like that it picks up the pace of the album again. Also digging the bass-line and the way it's been mixed. The drum solo is excellent, it has some real punch to it. Ultimately it doesn't quite feel like Pine has found his voice yet, or is just trying to showcase Shorter, which would be okay too. This would make sense as it's Pine's debut album.

  5. "As We Would Say": This feels like a hot night in downtown. Everyone knows each other, and it's the general rumble of the people talking. The muted trumpets in the back sound like carts honking in the distance. This track feels very alive. All the parts are off on their own creating this delicious piece of music. Or perhaps this song follows a late-night cab making its way through the night. 

  6. "Children Of The Ghetto": A cover of the Chris Amoo and Eddie Amoo. A very smooth song with some welcomed vocals. There are some very tasteful dynamics featured on this track. It feels very organic. I do wish the sax solo wasn't so far back in the mix. A bright upfront tune would make me happy. I loved the scat and sax solo near the end, very cool. 

  7. "When, Where, How And Why": The intro chords to this song are tasty! Song has a similar feel to "As We Would Say," but with the sax sound from "Children Of The Ghetto." Still, it's got this funkiness to it. Overall this song lacks a general flow for me. Not my favorite so far. The middle section lost me, which is unfortunate because there are great riffs that bookend this song. 

  8. "C.G.C": I like the creeping intro to this song. It's got a cool syncopated riff. Again, I get a "Watermelon Man" vibe from the song. Just when I think I'm getting the riff, it changes again which is keeping my attention. What does C.G.C. mean? It's a very quiet song compared to the rest of the album. 

  9. "Seen": It feels like part to of C.G.C. Very smooth and riffy. I'm not getting much in the way of feelings though. But overall, perhaps this is an album about the freewheeling young spirit going through their life/day? 

  10. "Sunday Song": This is the shortest song on the album, weighing in at 1 minute and 27 seconds. Very tasteful though. Each note is given its due time. A nice, somber song. 

  11. "E.F.P.": This song as some attitude! The drums and sax have excellent chemistry. That piano is  a runaway train. I'm blown away by the speed and ferocity of the drums. The scat part I could take it or leave it, but hot damn, this track might be my favorite on the album. That fat breakdown in the middle is rocking. 

  12. "Big Nick": A cover of John Coltrane. Very smooth, and a great homage to the late and great Coltrane. I like the pace of this song. Relaxed, with just a hint of a strut. 
Overall thoughts: I'm not really sure what the journey was, or where it was going, but there were tasty riffs and strong playing. Perhaps its a child's journey into adulthood? Maybe. It's a solid album though. It was a solid album, but not one I'll be revisiting much in the future. You should still check it out thought, it might be perfect for your musical palette. 

Info: This album was released in 1986 through the Verve label. Produced by Michael Cuscuna. It was the debut album of saxophonist Courtney Pine who has gone on to create 15 more albums to date. The album features 11 performers: Courtney Pine on Tenor saxophone, soprano saxophone, and bass clarinet, Ray Carless on baritone saxophone, Kevin Robinson on trumpet, Julian Joseph on piano, Roy Carter on keyboards, Orphy Robinson on vibraphone, Martin Taylor on guitar, Gary Crosby on bass guitar, Mark Mondesir on drums, Susaye Greene on vocals, and Cleveland Watkiss on vocals. 

Buy the album here
Listen to the album here
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Monday, June 1, 2020

Living Gate - "Heaven Ablaze" & "The Delusion Of Consciousness"



        Living Gate Returns to the Mainly Tuning Out stage so we can catch up on this excellent band. Previously I had shouted out their first single, the self-titled track "Living Gate", which was outstanding. They have dropped two more tracks from their forthcoming album 'Deathlust" which is being released via Relapsed Records on June 12th, 2020. It should be an exciting release. 

        If you're new to Living Gate, it is helmed by Lennart Bossu of Oathbreaker and Amenra, Wim Coppers of Oathbreaker and Wiegedood, Aaron Rieseberg of YOB, and Levy Seynaeve of Amenra and Wiegedood. This group of Doom/Sludge and Black Metal artists united over their communal love of classic Death Metal. From their Relapse Record page, "The band's ethos is wholly defined by the sound of the underground - purposefully devoid of over-polished, meticulously edited music, and eschewing athletic, sterile musicianship in favor of break-neck riffs." This captures the aesthetic of this group perfectly. 



        The first track featured today is "Heaven Ablaze" which was released May 4th, 2020. This track comes out swinging! Excellent tremolo riffs over classic blast beats. It is crushing and menacing. Quickly an excellent harmony riff takes over around the one minute mark. The drumming is tastefully done and sounds great. The middle portion of the track bounces around these moments of intense picked licks and mini breakdowns. It finishes with more reckless abandon and smashing riffs before ending abruptly. 

        In the info section of the YouTube video describes the sound as "unrelenting, raw drums, encircled by menacing riffs and heaving guttural orations." This really hits the nail on the head. After a few listens, definitely take some time to focus on the bass. Not only is the tone excellent, but it also adds a lot of depth to the overall sound. The music on this track captures the ethos of Death Metal and would probably take a veteran fan back to the days of swapping cassettes with friends to explore what's out there.

        The comment section reveals some potential sources of inspiration for Living Gate as people were mentioning it reminded them of Suffocation and Incantation. I would agree with these observations, however, I don't think it's a bad thing. This is a group of Sludge/Doom and Black Metal musicians getting together to celebrate something they love, and they hit the mark extremely well. 


        The last track for today is the newest track from Living Gate, "The Delusion Of Consciousness" which dropped on May 26th, 2020. It hits with a super heavy riff that really gets the head bobbing. The band digs it as well because they live in it for nearly a minute. Honestly, they could have milked another 30-40 seconds out of it, because it's a tasty piece of music. 

        It switches over to a tremolo-picked guitarmony riff that floats over some excellent drums. It works so well. Around the two minute mark, it switches to a new riff that is deliciously jammy and hits the spot as far as what Death Metal can offer. It's another riff that I could have enjoyed for another 30-40 seconds were they to offer it. 

        At 2:48 the music switches to a menacing moment made up of minimal drums and a chugging bass/guitar line. These make up the foundation over which a climbing guitar solo plays over. The moment works well. Soon a second guitar joins in and an excellent harmony solo plays out until the song abruptly ends. 

        Honestly, the worst part of this song is how abruptly it ends. It could revisit moments from the beginning and middle again and I wouldn't feel like it was out of place. It doesn't feel like the journey is over when the song is over. Thankfully we live in a modern age and you can set the track to repeat, which works shockingly well if you want to get more out of this track. It is cyclical in nature, and if you dig the music, I'd suggest you try it. 

        The big take away is this is definitely some fresh music, even if it's a relatively old style of metal. Living Gate started with a goal and they deliver on it. If you haven't checked out these tracks, or the first one from Living Gate on the Living Gate YouTube page, check the links below. Like what you hear? Put in a pre-order and support some artists (you can even get it as a cassette to re-live the glory days of Death Metal).

Listen to "Heaven Ablaze" here
Listen to "The Delusion Of Consciousness" here
Listen to "Living Gate" here

Pre-order Living Gate's "Deathlust" here
Check out Living Gate on Facebook here
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