Brand-New Classic Metal - Tumble Reminds Me Of Everything

 ALBUM REVIEW: Tumble - Lost in Light - Echodelick Records

You know the kind of person you meet who reminds you of other people, and they tell you they "get that a lot"?  Tumble's Lost in Light (Echodelick Records) is their own band and sound, but they inspired a co-worker to add to my Pentagram, and Black Sabbath observations Yes, and Brand X (which is apparently Phil Collins' first band) among a couple others.  They're the classic metal version of "yeah, I get that a lot."
Toronto trio LIam Deak, Tarun Dawar, and Adam Guerra mix Doom, Stoner, Sludge, and Psychedelic Rock/Metal into a tasty stew all their own. With only twenty minutes and five songs, this EP delivers a very tight blizzard of classic sounds.
"Laid by Fear," is a journey, with an uplifting Doom-y opening (don't ask, just get it and listen,) then, almost three-and-a-half minutes in, a delicious guitar solo is followed by a tasty drum solo, then more guitars before emerging from doom into as anthemic as sludge gets.
"The Less I know" follows with a definite Sabbath vibe, lots of familiar riffs and beats with the growly vocals described above. If you ever need a definition of "fundamental text" Black Sabbath is even more foundational than Led Zeppelin, and at under three minutes, this is comfort food for the classic metal fan, and a perfect example.
The third track, "Dead By Rumor" continues the familiar classic metal groove. It doesn't remind me of a classic rock hit so much as one of those second-tier tracks "real fans" prefer over the mainstream hits. Typically you'll find it as one of the deeper cuts on a "Greatest Hits" compilation.
"Sullen Slaves" brings Yes and other Acid Rock heroes to the party, with cleaner bass and guitars, and smoother vocals.  I'm only now sensing a pattern as I'm writing this.  It's a glorious pastiche, but more like old paper dolls, with a foundation you can mix and match with.  It works, and works well.
You read this far, so you know there's a fifth track. "Wings of Gold" is not much different than the first four, a brand-new classic psychedelic rock anthem sounding much like something you loved thirty years ago, and still twist the knob up when it comes on the radio.


Buy the album here: https://www.tumbleband.com/
and here: https://tumbletheband.bandcamp.com/
(FWIW, I'll never share the Spotify page.  They do not pay the artists well at all.)
10 / 10
LARRY ROGERS

Larry Rogers, Yugoboy's Stereo, Yugoboy Preoductions, Tumble, Classic Rock, Stoner Metal, Doom Metal, Acid Rock Black Sabbath, Pentagram, Yes, Phil Collins, Brand X, Led Zeppelin, Ozzy, Echodelick Records,

Brainstorming a Power Metal Masterwork - Brainstorm - Plague of Rats

ALBUM REVIEW: Brainstorm - A Plague of Rats - Reigning Phoenix Music

If you remember a time when a senile president worked with both sides of the aisle and held the respect of many across the political spectrum, you remember a time when metal was big and operatic.  A time when Power Metal ruled the land, hair was huge, shoulders had pads, and autotune was a terrible idea not yet inflicted on the industry.  Brainstorm's Plague of Rats (Reigning Phoenix Music) brings all that back with huge everything - huge guitars, huge vocals, huge themes, huge enjoyment.
Yeah, I enjoyed this.  A lot.
The opening track (creatively named "Intro") spends a full minute sixteen setting the table, getting us ready for the glory that is to come. "Beyond Enemy Lines" brings both guitarists, a driving drumbeat, and Andy B. Franck's ridiculously catchy vocals, reminiscent of, be definitively not Bruce Dickinson.  I could compare it to Saxon or Manowar or even the better Spinal Tap tunes, but none of that could adequately describe the perfect harmony between guitars and vocals.  As much as I love Iron Maiden and could never speak an ill word about them, but on rare occasions, Dickinson's opera training made him seem slightly separate from the sound.  Franck's vocals are slightly earthier, and again, perfectly tuned to the music.
"Garuda (Eater of Snakes)" follows, a slower, but definitively epic song more Metal Church, than Maiden. "False Memories" adds some Thrash elements to the Power foundation.  Not a lot, but enough to maintain Brainstorm's claim to having a unique place in the Power Metal sub-genre. I mean, hell, "Your Soul That Lingers In Me" has huge Kansas feels - they're great in their own right.
Metalcore fans should at the very least pick up "From Hell."  The punch and drive combined with growls and power vocals make for a terrific four-plus-minute face melt. The fact that Brainstorm is from Switzerland likely helps in maintaining their sound in the face of America's current infatuation with -core.
"The Dark of Night" keeps the party going, with a cute little denouement of near-acoustic guitar.  Lyrically, they don't really stray from standard metal tropes, including elements of epic mythos, horror, and violence. Given my deep and abiding love for the genre, I don't really care, but this isn't the album if you're looking for deep introspective and personal lyrics.
Brainstorm's a great name, for as much as there's a core power formula, they've incorporated a fitting melange of elements and styles befitting the results of a open-minded likely weed-fueled brainstorm session.




Buy the album here:  https://shopus.reigningphoenixmusic.com/collections/brainstorm
10 / 10

137 Brings Caveman Metal to the Bug Jar

So, there's a framing narrative for the rest of this review - I had a review of the album all written up, but it didn't feel like I captured what I wanted.  The show was only a week or so after, so the following is my effort to combine the two into a single, coherent whole. For song order, I prioritized the set list because some of the tunes came from their EPs.  Lemme know how I did.

I know this band from a charity concert a couple years ago.  I've seen them on a couple bills for shows I couldn't attend, but I know they're a hard-working local band from central and western New York.  So, when my social media suddenly and barely contained Keith Baughman's pride (his initial announcement of the album came in a liner-notes-length post on FB) about their first album coming out and announcing a release show that didn't conflict, I was ready.  
If you've never been to the Bug Jar on Monroe Avenue in Rochester, NY it's an experience. They go for a CBGB vibe, combined with nostalgia porn. Perfect gritty venue for a pretty gritty band.

137's utterly raging new album "Prey For Your Deception" drops on streaming near you.
So, to celebrate the release of PFYD they played the Bug Jar January 11.
137 brand themselves "Caveman Metal" - a mixture of sludge, doom, and almost death-metal vocals.  Pretty much.  My first comparative thought was another local act - Babayaga. They're not clones, but could definitely share a stage and fans.  Their website (137metal.com) proudly proclaims "Since Fucking 1996" which explains the three preceding EPs and other recordings.  "Prey To Your Deception" is 14 tracks of bass-heavy, distortion-riddled, barely coherent growly vocals and discernible roots from the Black Sabbath/Pentagram side while keeping it modern with those gravel-gargling vocals.


Set List
>>This is a Fist
This is the fourth song on the album, but the first of the show.  My review prediction came true:
"This is a Fist" starts with a less-distorted guitar attack joined shortly by all the aggressive elements Keith Baughman and friends bring to every aural assault.  This tune lets Pierson and Holdsworth get more distinct and crank out solos.  That tune's gonna be fun to see live.
It was
>>Savior
More rhythm-heavy distortion-fuzzy guitars. Nice reverb guitar solo. Worthy successor tune to keep growing the crowd in from the bar.  The righteous monsters pummeling the crowd's ears kept up the abuse for us masochists.

>>Parting Sabbath
This was where Keith really got to growling out lyrics to go with the Caveman rock. Continuing the rhythm assault, but with a couple guitar solos, proving they don't have to be finger-shredding fast to be good. Couple nice time changes.
The ZZ Top-like commitment to a sound really underlies the whole of the set. Each song is strong, unique, and enjoyable, but within a self-imposed range allowing the nuances to really gleam.

>>Slug
The Pentagram-meets-metalcore caveman metal sound works for these guys and they go for it. Interesting that they shared a single with Paro, the opening act. Paro uses far less distortion and crunchy rhythm. By now, if you haven't trashed your hearing, this tune'll finish the job.

>>Born Again
Ooh. A bass solo! Somehow, despite being the same groove, this one's more aggressive, almost soundtrack to a foot pursuit. These guys are real workmen on their instruments. Very little flash (except the Gene Simmons Axe bass guitar) and righteously solid.
The cleaner guitar solo out of nowhere was a nice switch-up. Admittedly the Bug Jar stage will never be described as capacious, but much like Paro, the music matters more than rock star energy.

>>Wrecking Ball
Continuing the standard of the rest, but giving the  drums a bit of solo work to do. The relationship between Paro and 137 came out to play as Paro's drummer added a ridiculous amount of audience energy to the stage as the set was ending. It's always obvious when the band is having that slightly goofy collaborative fun, and this set ended with that.

Interesting the set ended with the track that opens "PTYD". My initial response to the album opener was:  Distortion-laden guitars from Bill Holdsworth and Jpel Pierson open "Wrecking Ball", followed by opening growls from bassist Keith Baughman.  Jason Brickey's drums drive everything, including the bass solo smack in the middle of "Wrecking Ball".  If you're in at this point, the other 13 tracks won't disappoint. (Remember this is the opening tune.)

If you're with me thus far and see my byline elsewhere, know that a lot of my references are going to be for music from western NY and acts that have come through.  I already referenced Babayaga, but some of the instrumental parts of some of the tracks, like "Force Controlled Culture" bear a strong resemblance to Glass Skeleton Death March.  Otherwise, "Caveman Metal" is what the label says:  distortion, sludge, cymbals, and vocals so rough you need a 4x4.
I once had a mathematics professor tell us on day 1 "I know my accent can be tough, but stick with me and in a couple weeks you'll be fine with it."  He was right.  I bring this up because here in the third track, "In Vain Pt. 1 - Midnight" is when you start beginning to discern more of the lyrics Baughman is just gnashing out.  There's a nice break for a simple guitar solo about 80% in. "Slug" follows with all the subtlety of artillery; a powerful assault that would look like an angry wendigo if it were a person.
I've already addressed the fourth song above, but the fifth tune, "What Doesn't Kill You" has a driving bass/drum bit mid-song that sounds friggin' familiar and I can't remember why.  Then the pace slows a bit.  Not necessarily a single, but a good tune where it falls in the track list.  "Born Again" opens about as Black Sabbath-y as they can get away with.  The pace is low, slow, and powerful.  I'm a huge fan of guitar solos, and this tune features a nice one near the end.  Slow, not flashy, but very welcome.
"In Vain Pt. 2 " opens with the first sample - a heart machine beeps and a pulse give way quickly to more conventional 137 fare - until two more beeps mid-tune indicate a few creative beat changes and false stops.  Don't get me wrong about the lyrics.  It's not like they ever get overly discernible, but some of that is 40+ years of musically self-inflicted hearing loss as well.  The rest of the album develops fun, different forms of the "Caveman Metal" style.

I can't really give a number, but the album was as fun as the show, and boy did they crank.

Murder in Rue Morgue at Lost Horizon 9/4/21 opening for Soulfly

 

Oceans of Slumber - The Banished Heart

Oceans of Slumber

The Banished Heart

oceansofslumber.com

oceansofslumber.bandcamp.com

Do not allow the very slow, very quiet opening of The Banished Heart lull you into complacency; Oceans of Slumber generate oceans of sound; a sound that, while not unique, is certainly unusual in the metal world.  We've gotten past the point of women vocalists being unusual, and it's not overly obvious even that singer Cammie Gilbert is African-American.  What makes Oceans of Slumber distinctive is the ability and even desire to whipsaw from the heaviest of heavy, pounding out death metal vocals and speed metal drumming to Gilbert's arena-quality vocals reminiscent of the ladies of Heart or Amy Lee of Evanescence backing her efforts with that same death and doom metal or quieter passages of reflective mood and lighter sound.

Some bands have a consistency of sound, it works for them, and they do it very well album after album, year after year (ZZ Top, Megadeth and others come to mind).  Others wander all over various genres looking for a sound that pleases both themselves and their fans (Kiss, I reject your disco phase as some sort of aberration).  Oceans of Slumber do neither, confidently using the best elements of metal and heavy rock to achieve whatever each song needs.  Whether it's the 100% death metal in the middle of "At Dawn," the more lyrical and majestic "Fleeting Vigilance" or the much quieter "The Banished Heart" that more directly recalls Evanescence’s less anthemic tunes.

     Hailing from Houston, Texas, bandmates Gilbert, Dobber Beverly (drums and piano), guitarists Sean Gary and Anthony Contreras and Keegan Kelly on bass (the last three being responsible for all non-Cammie vocals) create some extraordinarily tight tunes - engaging, melodic (mostly) and genre-expanding.  It’s probably cheesy, but I gotta say it: don't sleep on Oceans of Slumber.  Give them a listen.  Preferably several.

Mile Marker Zero - The 5th Row

Mile Marker Zero

The 5th Row

milemarkerzero.com

mmzofficial.bandcamp.com

"Source Code" opens The 5th Row with a nifty montage of sound bites and quotes from the past thirty-plus years of US and World history, from Reagan's "Tear down this wall!" to a 9/11 Truther's doubt-filled questioning of the ability of a plane to bring down the towers.  This introduction establishes certain expectations of what comes next. Fortunately, what comes next is excellent.

Mile Marker Zero's tight, heavy progressive rock, filled with catchy hooks, well-integrated electronics, and sing-along-friendly vocals appeals on an aesthetic level engaging both taste and thought.  The tracks sport an abundance of Rush and other prog-rock DNA, including lead bass, synthesizers, and really tight production.  Discursive passages down quieter, reflective paths keep The 5th Row from becoming solely an intense assault of technique and technical prowess.  There's plenty of loud guitar-led awesomeness, but these guys don't just stress attack.

While nothing I can find indicates that The 5th Row is a concept album as such, there's certainly a significant theme of running through the tracks.  From the opening "Source Code" to the symbolic "2001," "Digital Warrior," "Building a Machine," "Sacred Geometry," "UI," "2020" and various other tracks throughout, it helps to bring some nerd cred to the experience.

The New England-based quintet, having met and formed at Western Connecticut University's school of music, wastes no line-up slots on duplication of effort.  Vocalist Dave Alley gets significant help from guitarist John Tuohy, bassist Tim Rykoski, drummer Doug Alley and piano/keyboardist Mark Focarile.  Given the band's origins, very little else should surprise about The 5th Row.  The previous sentence is the opposite of pejorative; Mile Marker Zero produces is some smart, thoughtful music - the kind you might get from guys with the kind of time college students have to collaborate and really dial into their craft, covering the kind of topics students getting a decent liberal arts foundation might be encouraged to read and think about.

It might be possible to put The 5th Row on as some good ambient background tunage, but eventually the intelligence of the ideas, styles and lyrics will break through and force the listener to really engage with the complicated nature of what MMZ hath wrought.

Christian Mistress - To Your Death LP

Christian Mistress

To Your Death

https://christianmistress.bandcamp.com/

http://christianmistress.blogspot.com/

To Your Death, the recent 8-song album by Christian Mistress, an Olympia, Washington-based quintet, is an unabashed celebration of heavy metal done European-style.  Fans of Warlock, Doro, Iron Maiden, Raven, Accept, UDO, and other 80s type bands that avoided the glam rock style flamboyantly erupting from LA like so much hair spray should give this album respect, love, a listen and some lunch money for the glorious assault that their ears will revel in.

The Wikipedia page for CM compares lead singer Christine Davis' vocals to everyone from Patty Smith to Wendy O. Williams to Billy Gibbons of ZZ Top (!?!).  Apparently the editors have failed to enjoy the awesomeness that is Doro Pesch.  As much as Christian Mistress is their own act, and produces music that taps a special place in my heart and my ears' taste buds, I keep coming back to how much it sounds like Doro's Warrior Soul album from 2006.  This in no way diminishes how much I love To Your Death.  If you're gonna sound like somebody else, it might as well be the best sound possible.

Along with the feminine raspiness of Davis' vocals, the twin guitar work of Oscar Sparbel and Tim Diedrich bring a very Iron Maiden vibe to the tracks.  There's enough rhythm guitar to keep thrash fans happy, but plenty of virtuosity by the axe-men to go around.  Rhythm section studs Reuben Storey (drums) and Johnny Wulf (bass) keep the band's sound driving and aggressive in the best kind of way.  The one trap that can trip up bands with this much awesome is the temptation to do a radio-friendly over-wrought power ballad.  Fortunately, despite a couple slower passages (and a contemplative opening minute to "Ultimate Freedom") I'm pretty sure those two words have never even crossed the minds of Christian Mistress.  No passage stays slow, and quiet contemplation is fleeting at most.  This is active music for active people.

The album opens strong with "Neon," a powerful rejection of the rest of the world and an invitation to the lover to return, "meet in the dark" where "everything's alright."  There's pain there, but a hopeful pain.  This underlying theme of damage, pain, anger, rejection, and love's wounds wrapped in dark, sometimes horror-themed imagery back-lit by the glimmer of hope pervades every song on the album.  Whether it's "Stronger than Blood," an invitation to the lover to walk side by side "with blood on our hands," or "Open Road," the band's first video from the album with its yearning to meet up with the lover "if you're on the road that leads us to the end," every track appeals to the angst-ridden teenager buried deep in the souls of anyone who loves this music.