Subsource play on - for a doomed generation

A doomed and condemned cyberpunk generation of damp Surrey urbanites turned out in force on this weekend’s wet & windy conditions to party with their favourite cross-over band. Subsource are not punk, neither are they drum’n’bass. They’re not modern indie rock. They are not dubstep nor metal - they are an amalgam of all of these styles. A truly holistic sound. Theirs is the sound of justice and conscientious inclusiveness. But, more importantly, they drive their audiences wild with their hysterically energetic live sets and their blistering hot musicianship.

We were at the superb Boileroom venue in Guildford to witness this sensational act. Promising some bombastic pieces such as the recent single ‘On My Video’ (created as a result of the riots in London and railing against the lack of values / worth in a consumer society) this song goes giddy with those spraying & wallowing splash-bass beats, strained to-the-max vocals and gigantic proportions. Subsource are also famous for their re-smashed covers, clocking up thousands of internet hits by re-treading old songs by the likes of RATM and SOAD. One of these, ‘Breed’ (Nirvana), is a pelting sand-storm blast of sounds that will make your eyes water. It is an effervescent vortex of energy that pulls you down into its depths, whilst you are left crazily fighting for breath.

We especially liked the band’s latest work such as ‘The Feeding’ (from the brand-spanking-new ‘Generation Doom’ E.P. ) with it’s pendulum of rhythms swaying one-way, then the next.The spots of sound are ripped away like sticking-plasters, only to be re-locked and wedged into gaps elsewhere. But the piece centres around a well-spring of golden sentiment and a giddy ‘Feeding’ chorus. This vessel may be cracked and stained, but it still holds the juice in. Take some!

Our favourite new song is ‘Molotov’ with beeps and sparks of electronic energy and squeals of pain, as those lacerating guitars take hold. This is razor-sharp and full of throated grunge. With ‘Kurt Cobain’ style vocals and a series of hugely successful riffs ... any metal fan would be proud to have this in his collection. Or ‘Kill The Thief’ which introduces the audience to an ambient side, of low oscillations, which spit along amiably before the full majesty of the show really takes hold. This then becomes regal. It is power - but wielded for the good of all.

 Moving towards a memorable climax and looking forward to a storming version of the Queens of the Stone Age hit “Feel Good Hit of the Summer.” we suddenly lost all sound - suffering ‘technical difficulties’ that nearly put paid to the show. Apparently a brand new amplifier performed an act of ritual suicide. And so Boileroom was left silent. After some helpful advice from the audience, like “Turn it off and turn it back on again” and “Try giving it some red bull, it normally works for me” the band reluctantly withdrew back stage for at least 30 mins, whilst a replacement amplifier was found.

Back on stage to a rapturous reception, Subsource seemed a little subdued, and the mob certainly seemed calmer - “We can’t see any sweat on the crowd in the front” screamed out front-man Stuart - and the party got going again. And what used to be filthy, dirty dub is now becoming so heavily tinged with heavily metallic ideas that one delighted onlooker exclaimed “It’s like watching Gary Newman crossed with Pantera - it’s like dub-u-metal - I love it.”

© Neil_Mach April 2012

For more information about the Surgery Productions ‘Dubumentary’ Susbsource film visit: http://www.thesurgeryproductions.com

Grab the ‘World of Tanks’ ‘Molotov’ track by visiting http://www.subsource.co.uk

See Subsource at Redfest- 20th July at Robins Cook Farm, Redhill, Surrey http://redfest.co.uk/

Lana Del Rey 'Blue Jeans' with Azalia Banks

 
Lana Del Rey - Blue Jeans ft. Azealia Banks (Smims & Belle Extended Remix)

“I’m a gangsta - gangsta - gangsta.” She trills. And because Lana describes herself as a kinda “gangsta Nancy Sinatra” we feel we have been waiting long-time for this kind of take on her sound.

So finally this Smims & Belle track (the DJ group from Mark Foster and band member Isom Innis) pushes out the tea trolley for the gangster-version of the vision. Sure, you cannot picture Lana schlepping around a palace trouncing it up with tiggazz, or swimmin’ with gators for this one. No, she will probably need to hide her lips beneath a deep hood and dive crazily around a concrete car park.

Azalia and her puppet-bounce rubbery beat bops are unmistakable. Bringing a grin to your impertinent rosies, and a broad outing for your edwards.

This will - in part - pulverize your neck muscles and maim the mucus. Cleverly lopped off bits of Azalia’s back padding (recorded specifically for this remix) materialize and intrude, like visions of other-worldliness, sticking into Lana’s graceful celluloid sixties pastiche of sounds.

Vibrant and illuminating at the same time, this is a fanciful mix that becomes beyond desirable the more you play it.

-- © Neil_Mach April 2012 --

http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F44459641&show_artwork=true

Attention Thieves on Rampage

 
Attention Thieves operating in Staines was the stark warning. And an ominous bucket of ear-plugs greeted the audience members flocking to The Hob to see these amazing Reading based rockers. We were at The Hobgoblin Staines for an exciting evening with the band, and we were already anticipating a pretty unforgettable time. “This is gonna be loud!” Said one grinning patron as he checked over his ear defenders. ”But we are fortunate to have the boys in town.” He smiled.

The four-piece band recently opened the new ride - Swarm at Thorpe Park - giving them some great exposure- and also providing a link to the riverside town of Staines. Big Cheese magazine said ““There is no doubt that the coming months will see (the band’s) popularity sky rocket.” And given what we saw of the band at the Hobgoblin, we are inclined to agree. With numbers like ‘You’ll Be The First One’ the boys entertained the lively crowd. Stitched together with grizzled ebony-tinged guitar sounds, and rhythms of the most incredible intricacy, this is one hellishly hypnotic song. The verse is gradually unfurled by Alex (vocals and guitar). And the scintillating chorus is a jamboree of colours and textures, as ear piercing sounds ( Hag on Guitars) rush up and fly, like streamers in the sky.

‘Can’t Say’ has bruising bass notes provided by Ryan (bass guitar) located inside a maze of tantalizing rhythms and textures, packed full of mystery and false direction. Masterly percussion by Sim (drums) are interrupted by moments of quiet introspection, allowing the stunned audience to take a quick breath before another monster guitar assault. This song peaks in a thundering climax. It is astonishing and strident stuff. No, it’s not for the fainthearted. But this is the kind of sum and substance that legends are made of.

Attention Thieves are now on an extended tour of the UK throughout May and into the summer.

Check their facebook page http://www.facebook.com/AttentionThieves/ to find a date and a venue near you.

The band can be seen playing live at Redfest of July 20th..... So we recommend that you catch the band there, before they embark on their European tour in September.

© Neil_Mach April 2012

Links:

http://redfest.co.uk/

http://www.facebook.com/AttentionThieves

Cambridge Rock Festival - Spring Edition - Cancelled

Poor ticket sales, calendar clashes, budgetary constraints and fierce competition have contributed to a wave of cancellations in rock festivals. But it is often the weather that sounds the death knell for an open-air festival - leaving the best made plans and good intentions, literally sinking into the mud.

Now organisers of the 2012 Cambridge Rock Festival - Spring Edition have told disappointed ticket buyers that this weekend’s three day event has been cancelled.

The event promised classic rock and blues at the Cambridge Road site. The anticipated line-up included Martin Barres’ New Day, Verden Allen & Softground and The Mick Ralphs’ Blues Band.

 Festival Promoters had this to say, “It is with deep regret that The Cambridge Rock Festival has had to cancel it’s Spring Edition Festival, which should have taken place 27-28-29 April (this coming weekend). Due to adverse weather conditions preventing the infrastructure being installed”.

Freak weather has struck outdoor festivals before, with freak storms, floods and tornado-like winds:

· A stage collapse caused by an extreme storm at Pukkelpop Festival Belgium in 2011 claimed 5 lives and at least 70 others were injured

· Strong winds caused a stage collapse at the Bearded Theory Festival in 2009 - two people were admitted to hospital

· Yorkshire-based festival ‘The Beacons’ was cancelled in 2011 due to flooding

The Cambridge Rock Festival organisers still hope to stage a successful summer festival on the same site, at Haggis Farm, Barton near Cambridge UK on 2-5 August. The line up already includes Tygers of Pan Tang, Caravan and Mostly Autumn.

 Cambridge Rock Festival say they are looking at a method to extend the validity of the Spring edition tickets for another event and ask customers to keep their tickets and await further announcements.

http://cambridgerockfestival.co.uk/

Lana's New Video Gives Us Butterflies

Lana Del Rey has suggestively teased that this song is the key to the puzzle. “CARMEN” she tweeted: “Explains everything.” This song is yet another indication of dissociative identity disorder.

The split personality is explored here - two characters of Lana's creation take part in the song.

The first is a flirtatious sweet, piggy tailed eye-turner ... a Coney Island Queen. The second is a sparkling, gracefully nonchalant ‘Maria Vargas’ type character ... a magnate’s plaything.

The instagramy montage-based video fugue-trip takes us into a graining biopic past that could never have actually happened. Carmen, she says, is just seventeen. And Elizabeth Grant is twenty-six. Yet Sinatra’s graceful Sugar Town world - beautifully evoked in this video- is circa 1966. It is a world that neither Carmen nor Lana could ever have experienced... besides embracing the film footage and images of the period.

The video begins with a rose in bloom. A rose that will die on the shank. Yet it is stunningly beautiful for the day. “She says you don’t wanna get this way ... I’m dying”. And the story unfolds. The song is a difficult study of a teenage girl trapped inside a world that only cares if she provides services and products to the dangerous people that surround her. In return, she become an addict. Distortion, loss of subjective time and traumatic flashbacks add a sense of danger and loss.

Painfully shy at times, at other times brassy and fully matured - Lana’s voice is used to explore the twin personalities revealed. Perhaps all 21st century girls are expected to be a two-in-one. And at times this burden becomes too much. Deadly and “ Tiring, tiring.”

Mérimée’s operatic character ‘Carmen’ also represented ‘dirty love’... perhaps the character was a further inspiration to Del Rey. This Carmen was also a temptress and mischief-maker. She too felt that she was a fatalistic spirit stifled within in a body that men worshiped and hungrily desired. She just wanted to be loved. But life is never as simple as that.

The music of Lana’s ‘Carmen’ gives us a sense of dry paint flaking from once noble picket fences and of past-life chromium bumpers left corroding in the salty air. It feels like loss and it’s all about loss. This is tarnished splendor. A time passing away that never actually made you happy in the first place.

The vivid piano piece at the end is like raindrops crawling down the greasy windows of a downtown diner. And thus it all ends with an empty heart in a cold and lonely room.

© Neil_Mach April 2012

[youtube http://www.youtube.com/watch?v=L6K8Uq88BEQ&w=560&h=315]

Papa George & Micky Moody - Live Review

You couldn’t get two more talented bluesmen together than this. Rock guitar wizard Micky Moody (Whitesnake) along with classic ‘Blues With a Feeling’ guitarist Papa George at The Riverside Club Staines. Micky Moody seated slightly loftily on the glittering stage of the Staines Club, vaunting his Les Paul, and Papa George, slightly lower, embracing his custom steel guitar.

“Well, are you ready for this?” George asked the crowd, the excitement already building. A warm round of applause followed. “Right, then, lets move on ...” And we went straight on a trip ... starting with the warmth and glowing hypnotic genius of “You Can Love Yourself.” ( contemporary Delta blues artist Keb’ Mo’)

Clearly, both artists are masters of the guitar - but the voices are also impeccable. As we approach “Jesus on the Mainline” (trad: but normally associated with slider Ry Cooder,) Papa George’s voice is darker, more whisky and dry whilst Micky’s vocals are finer, they seem stretched- they are harder.Together, these elements create a magical potion. Crowd participation was encouraged gently, without becoming uncomfortable. As I looked around the club I could see almost everyone was happily singing along to the chorus.

The atmosphere was relaxed and unpressured. And you felt that you were witnessing two of your favourite artists jamming away in your own lounge. Such is their easy-going style and their friendly light-hearted manner, it is as if you are enjoying an evening with friends. And that’s how it should be.

Included in the set were at least a couple of Papa George’s own compositions, including one of my own favourites “Broken Mirror”. It is at these points that you realize how skilled these musicians really are. Their improvisations are amazing. Both guitarists consistently demonstrated a mastery not only of the blues guitar, but also classical and flamenco guitar. The finger tapping percussive style of Micky Moody was particularly fascinating.

Songs like “Sailin’ Shoes” (written by Little Feat guitarist Lowell George) allow the partnership to flourish. Here the intricate patterns created by the splendid finger-picking from George, surround the sweeter notes soared up by Micky.This song allows the duo to explore new undiscovered territories - all the while branching out with fresh sounds - whilst the audience happily goes along for the ride.

Papa George is a first-class vocalist with a creamy dark chocolate voice that smothers you in those deep molasses. Micky Moody is a snake-charming smooth handed guitar player and a talented vocalist. Together they played a concert that was uplifting - almost spiritual .... what a night!

© Neil_Mach April 2012

Links:

http://www.papageorge.co.uk/

http://www.mickymoody.co.uk

Johnny Monaco - UK Tour 2012 - With Magic Eight Ball

We have just heard that Staines/Egham based power-pop heroes ‘Magic Eight Ball’ [Baz Francis, Diana Trochim, David Novan & Simon Freedman] are lined up to support the legendary Hollywood glamster Johnny Monaco on his forthcoming UK tour. Monaco was the lead guitarist and eventually the lead singer for Enuff Z’Nuff during his 12 year stint with the band, touring extensively throughout the US, Europe & Japan. Johnny continues to front his own pop band playing edgy, quick-witted power pop fit for a new generation, and he is looking forward to playing Britain this spring.

This is set to be his very first solo headline tour. He has not toured in the UK since back in 2007 and so this will be music fans first chance to hear his perfect pop fuelled miracles, played live and in immaculate condition, and to witness his renowned pomp, swagger and effrontery.

Joining Johnny Monaco on this much anticipated British tour will be MAGIC EIGHT BALL and, on selected dates, YOUNG LUST.

Magic Eight Ball have already delighted audiences around the Surrey/Berkshire area with their splendidly hippy & poppy songs like ‘Baby, Is It So?’ With its sleek atmosphere and tinkly heartfelt vocals. La-la melodies and a confetti of harmonies are all trademarks of this cheerful band. Other show-songs from the 8-ball song-book include ‘Perils of Honesty’ with a heady infusion of supersonic guitar based high-jinks and always a strong tune.

Magic Eight Ball are a treat for anyone who loves big pop pizzazz - like fans of ‘Cheap Trick’ or ‘Big Star’. Magic Eight Ball front man Baz says he is really excited about the tour and about playing with one of his own all time heroes. “Magic Eight Ball and Johnny Monaco will be playing a very special gig together at the famous 12 Bar Club in London’s Soho on Wednesday, 16th May.... and that shall culminate in a one-off All Star Acoustic set - even if you live Glasgow you will want to come down to witness that.”

Come see Johnny Monaco with Magic Eight Ball

May 10 – Diamond, Sutton-in-Ashfield
May 11 – The New Inn, Ilkeston
May 12 – Area 81 Bristol
May 15 – Cavern Club, Liverpool (IPO Fest)
May 16 - 12 Bar Club, London
May 17 – Talking Heads, Southampton
May 18 – Sanctuary Bar, Basingstoke
May 19 – Gasworks, Bradford

Links:

http://www.reverbnation.com/magiceightball

http://www.johnnymonaco.com

Foreign Beggars will headline RedFest on Sunday July 22nd

We are super excited to announce that ‘Foreign Beggars’ – the grimy London hip-hop crew – will be headlining this year’s Sunday line-up at Redfest.

We spoke today with the band, just as the announcement about RedFest 2012 was being made – and they promised us plenty of shimmering summer shenanigans, and a bounty of their hardest hitting mixology.

Founder of Dented Records and resident rapper on all Foreign Beggars material Orifice Vulgatron told us, “2012 has been a pretty hectic year for us – our first ever headline USA TOUR, Working in studio with Deadmau5.  Live broadcast for the Mau5hax in Miami, Remixed with Engine Earz.  The New Meshuggah Single, and finally recording a new album! “  It doesn’t get any more bursting busy than this.

The 2012 Robins Cook Farm extravaganza in the glorious Surrey countryside is already promising to be a totally awe inspiring and utterly thrilling experience for fans of the band. And of course, the excitement of any Foreign Beggars live show is legendary. “We are really looking forward to this festival,” D.J.  Nonames explained “And you can also expect to see us at SW4 (along with Skrillex) and at this year’s Glade Festival.” And expect the unexpected. “We had pyrotechnics on stage in New Zealand … The dude got a bit excited – we dropped a shell-shock, and we nearly sh*t ourselves.”  “ There’s gonna be some crazy sh*t, just have to wait and see!” Added Orifice Vulgatron.

“We have been touring extensively …. the U.S. portion was the most exciting part of our tour.  Webster Hall in NYC – and LA – was insane.”  The RedFest date [July 22nd] comes towards the sharp-end of a hefty schedule of performances for the band, and so the Foreign Beggars expect to be highly buffed,  full of juice, and as deranged as ever. They will be up for anything. “We’re always touring…” Says Nonames “Although it’s not healthy to look too far ahead… or it can be a bit overwhelming.” But he recommends to start prepping for the party now – because this will be monumental.

Foreign Beggars were talking to Neil Mach

Links:

http://www.facebook.com/foreignbeggars

http://www.facebook.com/RedfestUK

Anison - New Single - Fluidity

The debut album from Kingston town indie-rockers ANISON is released on the 30th April. With influences ranging from Radiohead, to the Yeah Yeah Yeah’s and The Maccabees, the album Memory Flashes is set to soar!

We took a listen to the lead single ‘Fluidity’ (available from their site as a free download) and this is what we thought:

Cocky bass with snake-like notes squeezed out at intervals. Strident sounds of crushed glass lay dangerously underfoot, and an abundance of the kind of honeyed vocals that leave a slightly menacing and fateful threat lingering in the air. Moody, mystifying and moreish.
– © Neil_Mach 2012 –

Catch the fellas at their album launch next Friday (20th April) at the Tooting Tram & Social with XFM’s John Kennedy and Ex-Libras.

http://www.facebook.com/anisonuk

Kathryn Williams and The Pond announce May / June Tour

The Pond is a ‘democratic mud pit’ in which Kathryn Williams - ‘Without doubt one of the most authentic folk voices in the country’ (Q) - has teamed up with fellow musicians, Simon Edwards and Ginny Clee for an album project – more Gorillaz than Guthrie - taking many by surprise.

The Pond is an explosion of ideas augmenting vintage beats, 60’s pop, Eastern flavoured loops - and even a rapper. The music developed – alongside friendships - over a two year period of on/ off recording at Simon & Ginny’s home studio in North London and by exchanging files over email with Newcastle-based Kathryn.

We had a listen to ‘Circle Round A Tree’ from The Pond (set for release 21st May) and this is what we thought:

‘Circle Round A Tree’ is a loopily frosted chiming candelabrum of calming bassnote ripples and shimmering guitar sounds- each encrusted with Kathryn’s lacy vocals, hanging like veils from an alabaster statue. Moreish and irresistible. -- Neil Mach --


The Pond are excited to announce live dates for late May and early June -

May 28 2012
Komedia Brighton, Brighton, UK

Tue May 29 2012
Union Chapel, London, UK

Wed May 30 2012
The Ruby Lounge, Manchester, UK

Fri Jun 01 2012
Brudenell Social Club, Leeds, UK

Sat Jun 02 2012
King Tut’s Wah Wah Hut, Glasgow, UK

Sun Jun 03 2012
The Sage Gateshead, Gateshead, UK

http://thepondmusic.com/

Joyce - Keep The Lights On

South London singer Joyce (aka Katherine Fussey) is born of rock heritage- as the niece of Bowie guitarist Mick Ronson and Suzi Fussey (Bowie’s hairdresser and creator of the Ziggy Stardust haircut.) Her father was the sound engineer for the likes of Bowie and Roxy Music. Despite these routes naturally pointing to the sound of the 70s, it’s very much the influence of mid-sixties era Nico that shapes the style and vision of Joyce, spun together in a flurry of icy yet fuzzy synth-pop.

Abundant and flexible bongo-bongo beats add pliantly punctuated stamps to this aloofly electric song. Synthy stutters match the taste of the citrus lyrical content. A bosomy bass creates a heavy counterpoint to the airy fairy lights of those highest pinnacles. A smoky and atmospheric accompanying video reminds me of a time ..... aah ... doers anyone remember 70’s oil wheel lighting effects? This song has hippie vibes and a smoky disposition. Go seek ...

-- © Neil_Mach 2012 --

[youtube http://www.youtube.com/watch?v=_b8OX5Ti4Wk&w=560&h=315]

Paloma Faith - new video

“ Do You Wish I was a Bit More Like Her?” Who is Paloma referring to in this line, Lana Del Ray? A magnificent string arrangement introduces us to this autumnal world of her imagination- then emotions seriously pick up in the second verse with some angry vocal aerobics. But above all, we know where we are going through this maze. The plot twists are fairly easy to follow, and there are no surprises and puzzles in this piece. The trademark quirking and oddity also seems a thing of the past for Paloma (shame) but perhaps this is because this is the kind of fayre that it is necessary to produce if an artist wants to compete in the bloated rankings of impassioned soul ballads. The accompanying video is sumptuous - redolent of those golden-years 1950’s melodramas (this is a vintage speciality period for Paloma) - the haunting ‘Picking Up the Pieces’ chorus is sad and distressing. Altogether, this is an emotion filled delight - a little ‘more mature than you’d expect from the artist. But don’t delay, download it today. Because it will linger. © Neil_Mach 2012

http://youtu.be/Ijel4Vcqd9g

MOJO FURY - In the Studio recording New Album / Touring with LOSTALONE

The past 12 months has seen the release of “Visiting Hours of a Travelling Circus” (mini review below) , the debut album from Northern Irish alt-rockers MOJO FURY.The recording has been lauded by all corners of the rock music press during its release: iTunes ran the band as ’Single of the Week’, Rock Sound as ‘Band of the Week’ and features in Artrocker, Big Cheese, Total Guitar, Rhythm and Kerrang magazine followed.

In the past 12 months the band have toured with the likes of Amplifier, Maybeshewill, Lite, and ASIWYFA, along with stand out performances at festivals like Sonisphere, 2000Trees, Live At Leeds, In The City and Brainwash, which have enhanced their rapidly growing reputation as one of the UK’s most intriguing and exciting bands. This year the band showed no signs of stopping by spending 35 dates on the road supporting InMe and LostAlone in February and March.

Now in April the band have headed into the studio to record their 2nd album set for release later this year. If that wasn’t enough Mojo Fury have also announced their next UK tour in May which sees them again hooking up with label mates LostAlone.

Mojo Fury / May UK Tour:
Wed 9th - DERBY, The Victoria Inn (Headline Show)
Thu 10th - ANDOVER, The George (Headline Show)
Sat 12th - BRIGHTON, Concorde 2 (The Great Escape Festival)
Sun 13th - DONCASTER, Leopard (Headline Show)
Tue 15th - YORK, Stereo (Headline Show)
Thu 17th - LONDON, Old Blue Last (Headline Show) *FREE ENTRY
Sun 20th - BRISTOL, Thekla Top Deck (w/ LostAlone)
Mon 21st - GLASGOW, Captain’s Rest (w/ LostAlone)
Tue 22nd - MANCHESTER, Dry Bar (w/ LostAlone)
Wed 23rd - LONDON, Camden Barfly (w/ LostAlone)
Thu 24th - NOTTINGHAM, Rock City Basement (w/ LostAlone)
Sat 26th - BELFAST, No Alibis Bookstore (Acoustic show)

Facebook: http://www.facebook.com/mojofuryband

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“Visiting Hours of a Travelling Circus”

‘We Should Just Run Away’ includes Mojo Fury’s resplendently surging anthemic qualities and adroit arrangements, incorporating soulful vocals from front-man Mike Mormecha, along with some of their trademark dizzying melodies

‘The Mann’ is jazzing and hypnotic. Created by circles and spirals of guitar and hoops of latticed percussion (from Gerry Morgan on drums.) Thudding bass (Ciaran McGreevy ) and demanding vocals fuse with the geometric patterns and swirls beneath, to develop into a study ironwork number with plenty of mettle and muscle. This is a mustering call to arms for the heady and the youthful.

‘Colour of the Bear’ also separates the band from anybody else in their class. Slightly quirky Cure-like vocals hover and quiver over a rapidly bubbling rock beat from which jagged edges and cushion of polystyrene softness protrude. Bountiful and pleasing.

‘Deep Fish Tank - Factory Settings’ is a finely serrated rock piece with added acid and venom. It will fry your brain in an instant. And then the thudding creative vocal content will grab you by the scruff and lead you to place in the corner where the blast-beats hurt your brow and the tremors skewer your conscience.

‘Bones’ is littered with the debris of seventies metal, especially those early riffs; Salvaged from the heap, and sandblasted into coherence by James Lyttle (guitars). The addition of bone-meal drums adds sufficient fertilizer - allowing some succulence to grow from the heavy girdering. A rubbery bass allows the nodding-head arrangement take hold- whilst an aspirating voice takes you onto a rickety ladder towards a sky that trembles.

© Neil_Mach Apr 2012

Bloodloss Album Review - The Struggle

This magnificent album from the London (UK) based heavy metal outfit Bloodloss, is a very personal affair, consisting of 6 tracks that stand as disturbing ideas on the struggle to come to terms with loss, grief, loneliness and desolation. But the tracks also demonstrate enthusiasm and freshness, somehow offering glimpses of slow redemption. Capable of great love and warmth, but full of emptiness and yearning emotion and pain, this album will satisfy all but the flintiest bosom.

Inter-mingled amongst the fiery framework in this cauldron of sounds on the opening track - ‘The Struggle’ - are sparkling jewels of the finest obsidian-sharp quartzite guitar-work (Rob Ironmonger and Mark Browell).These are more valuable than you can possibly imagine because, without these shining beacons, the work would become incredibly bleak. The slower moments allow you to take a breath, and look around you, before contemplating startling horizons. Cruel and lascivious at times, this track is also tender and passionate at others. Constantly, you feel enmeshed within a chain-mail strait-jacket , as if some incalculably strong and furious demon has enslaved you. Matt Hobbs (vocals) adds grimy earth shattering cries and undying growls. But his voice also gently soothes and embraces you when you need it. This is precious stuff. The tantalizing guitar solo in the last portion of the song whips up a magical swarmfest of volcanic majesty and power.

‘This Still Remains’ has a buzz-saw bass (David Smith) that gives this track a memorable gravitas of burgeoning power. Drum beats (Daniel Kelly) are released like spark and fly shrapnel - flung from a furnace, like whipping chains of golden fire. The guitars stand like giants. Only to be cut down by lacerating vocals that cut through everything like spitting acid. A regular beat is gradually formed, and this slow march submits to a procession of sounds which then forecast the catastrophic famine within the final breaths of this extraordinary creation. And only time will heal these wounds.

‘Stand Alone’ is like a war cry from a solitary demon trapped in an uncertain dimension. A very fast moving, and eerie spectacle. And ‘Reborn’ has more of those sparkling guitars that will fry your members and corrode the nethers. Your precious heart will be mortally wounded in the process. A luxurious riff encapsulates the immense power of those strategically placed vocals- and these take you from germination to termination in just a few terrifying steps. Heartbreaking and mesmerizing at the same time.

‘Lost’ is another song of irreconcilable ruin. The line “I’m just so lost without you” is like a spear through the heart. You will break down and sob in anger and in sadness. But though this may be bleak and desolate in essence, the song does not lack vitality nor even stark beauty. It is a creation of subtle and dark lines of power, each note carefully enmeshing and entombing you within the depths of a truly glorious despair. Utterly potent.

The obvious fact that the work on this album comes from an immensely sad and final place is clear from the outset. And yet the last track on the album- ‘Paradise’ contains sufficient life-force to make you feel you may be able to arise gently from that cursed place towards new beginnings. There is never retribution or vengeance found among the strewn symbols of loss, regret and hollowness- just a sense of justified and longed for deliverance and an ultimate salvation. And as such, ‘Paradise’ is a fitting end-piece to this stunning work, and a monumentally constructed heavyweight monolith of power and beauty in its own right. Eventually, when your feelings of desolation and inconsolable grief are washed away by the powerful guitar lines and the rapid percussion, all that remains is the pain.

© Neil_Mach Apr 2012

Link:

http://www.facebook.com/bloodlossuk