Wolfmother: Rock N Roll Baby (Self Released) [Matt Bladen]
The second surprise release by Aussie rockers Wolfmother (which now is basically Andrew Stockdale and hired guns) comes after Slipstream in 2018 and once again he's gone down the self released route with Rock N Roll Baby which is the first album he has recorded why sober having given up drinking in 2018. He has clearly put his free time into recording in his home studio as Rock N Roll Baby features 7 tracks of Wolfmother music. Think fuzzy retro riffs, Stockdale's almost shrieking vocals and a psychedelic influence looming large, on Rock N Roll Survivor he's brought grunt, first single Spanish Rose is a proper rocker with some thick organs and even strings behind it as the psych is ramped up on Freedom Is Mine. Unfortunately only these tracks and the funky Special Lady really resonate, it seem to be a bit more about quantity over quality as lyrically you can never judge Wolfmother due to their worship of the groove over whether it makes sense, however here the music is a little lacklustre too. I like Wolfmother but this is basically a Stockdale solo effort and not a particularly good one at that. 6/10
Elder Druid: Golgotha (Self Released) [Matt Bladen]
When you see a band have had previous releases on Black Bow Records, the record label founded by Conan's Jon Davis, you can anticipate how heavy Elder Druid are. Well personally I've seen how heavy they can be in a live setting, this Belfast five piece bring to mind Electric Wizard and Conan themselves. Golgotha is their second full length album, 7 tracks of fuzzy doom, recorded by the band's multi-talented bassist Dale Hughes (who also adds theremin and Fender Rhodes) he's made sure the album has D.I.Y sound that makes it similar to the founding fathers of doom. The title track is muddy with the down-tuned riffs bubbling out of the speakers as Hughes along with guitarists Jake Wallace and Mikey Scott essentially bring aural abuse with every deliberate stab of their strings.
The atmosphere builds on Sentinel a song that is led by the expressive drumming of Brien Gillan, an instrumental it means that Gregg McDowell gets a rest from delivering throat ripping vocals that is until Vincere Vel Mori a track that owes as much to Pantera as it does to Sabbath, now I've already compared the band to Down and that comparison sticks here with Vincere Vel Mori bringing the sludge. Veering between woozy psychedelic distortion and grumbling doom metal which is at it's most fierce on Dreadnought. Golgotha is a crushing record from the Norn Iron riff merchants, yes production wise it's a little murky but that will add to the charm for some. Play it through big speakers...you'll thank me. 7/10
The second surprise release by Aussie rockers Wolfmother (which now is basically Andrew Stockdale and hired guns) comes after Slipstream in 2018 and once again he's gone down the self released route with Rock N Roll Baby which is the first album he has recorded why sober having given up drinking in 2018. He has clearly put his free time into recording in his home studio as Rock N Roll Baby features 7 tracks of Wolfmother music. Think fuzzy retro riffs, Stockdale's almost shrieking vocals and a psychedelic influence looming large, on Rock N Roll Survivor he's brought grunt, first single Spanish Rose is a proper rocker with some thick organs and even strings behind it as the psych is ramped up on Freedom Is Mine. Unfortunately only these tracks and the funky Special Lady really resonate, it seem to be a bit more about quantity over quality as lyrically you can never judge Wolfmother due to their worship of the groove over whether it makes sense, however here the music is a little lacklustre too. I like Wolfmother but this is basically a Stockdale solo effort and not a particularly good one at that. 6/10
Elder Druid: Golgotha (Self Released) [Matt Bladen]
When you see a band have had previous releases on Black Bow Records, the record label founded by Conan's Jon Davis, you can anticipate how heavy Elder Druid are. Well personally I've seen how heavy they can be in a live setting, this Belfast five piece bring to mind Electric Wizard and Conan themselves. Golgotha is their second full length album, 7 tracks of fuzzy doom, recorded by the band's multi-talented bassist Dale Hughes (who also adds theremin and Fender Rhodes) he's made sure the album has D.I.Y sound that makes it similar to the founding fathers of doom. The title track is muddy with the down-tuned riffs bubbling out of the speakers as Hughes along with guitarists Jake Wallace and Mikey Scott essentially bring aural abuse with every deliberate stab of their strings.
The atmosphere builds on Sentinel a song that is led by the expressive drumming of Brien Gillan, an instrumental it means that Gregg McDowell gets a rest from delivering throat ripping vocals that is until Vincere Vel Mori a track that owes as much to Pantera as it does to Sabbath, now I've already compared the band to Down and that comparison sticks here with Vincere Vel Mori bringing the sludge. Veering between woozy psychedelic distortion and grumbling doom metal which is at it's most fierce on Dreadnought. Golgotha is a crushing record from the Norn Iron riff merchants, yes production wise it's a little murky but that will add to the charm for some. Play it through big speakers...you'll thank me. 7/10
Helldown: In Death's Hands (Self Released) [Paul Hutchings]
Back in June I saw Swansea based quintet Helldown give a creditable performance in the Bristol M2TM semi-final. Whilst I enjoyed their set and felt that they were unlucky not to progress, I also commented on their limited originality, and the need for something to separate them from the masses. Well, the band’s sophomore EP has arrived and it’s not at all bad. Sticking closely to the old school thrash blueprint, this four-track slab is perfectly enjoyable, with the production solid, adding enough crunch to the heavy riffage of Lewis Larkman and Matthew Evans, something that has been lacking for a couple of other Welsh bands in recent times. Whilst the EP has plenty going for it, there are also some limitations. I find Ben Evans’ vocals the Achilles heel in the band; his delivery sometimes doesn’t do the band justice and at times it appears that he is struggles to reach all the notes.
Back in June I saw Swansea based quintet Helldown give a creditable performance in the Bristol M2TM semi-final. Whilst I enjoyed their set and felt that they were unlucky not to progress, I also commented on their limited originality, and the need for something to separate them from the masses. Well, the band’s sophomore EP has arrived and it’s not at all bad. Sticking closely to the old school thrash blueprint, this four-track slab is perfectly enjoyable, with the production solid, adding enough crunch to the heavy riffage of Lewis Larkman and Matthew Evans, something that has been lacking for a couple of other Welsh bands in recent times. Whilst the EP has plenty going for it, there are also some limitations. I find Ben Evans’ vocals the Achilles heel in the band; his delivery sometimes doesn’t do the band justice and at times it appears that he is struggles to reach all the notes.
Having said that, his bass playing is sound, linking well with the powerhouse drumming of Ross Thomas whose massive drum kit is utilised to good effect. Opener The Unnamed is a decent starting song, a track that immediately grabs the attention, the band’s influences of Pantera and Slayer prominent. This continues with Mortal Shell, a raging thrash beast which has some fine cohesive playing. Still not fussed on the vocals mind. Heretic follows, and by know you should be enjoying this EP. It’s chunky, thick thrash and there isn’t a lot to criticise. Flames Of Heresy closes things down, and this is possibly the best track on the EP, switching between full bore acceleration and slow and brooding menace. In Deaths Hands is by no means a bad release. There is plenty to get stuck into. Whether there is enough to propel the band to the next level though, is difficult to call. 6/10
Darktribe: Voici L’Homme (Scarlet Records) [Paul Hutchings]
Album number three from the Power Metal outfit from Nice, France. An album inspired by the Christian bible and particularly the New Testament, Voici L’Homme (Here is the Man) has a striking cover created by Giannis Nakos which leaves you in no doubt about the content of the album. Produced by Damien Rainaud (Dragon Force/Fear Factory) it’s a crisp and tidy album and if you take away the lyrical content it’s okay. Now, I don’t have an issue with Christian bands, but they do tend to be a bit wet when it comes to the lyrics. And that’s because there is no God. It’s really challenging to listen to the soaring clean vocals of Anthony Agnello praising an imaginary deity. Musically Darktribe (don’t get them confused with the German black metallers Dark Tribe whatever you do!) combine racing power metal with melodic hard rock. Multi-layered, rich on melody and harmonies, it’s a smooth and polished album, well-crafted and executed with the lead work of Loїc Mannello impressing. Plenty of keyboards and effects adding breadth. However, I cannot get past the relentless God speak which makes any vocal irritating. Three plays didn’t help. There is likely to be interest from the power metal fan base and tracks such as Tree Of Life, Faith and Vision and A March For A Prophecy are musically decent. Unfortunately, it’s not something that gets me excited … ever. 5/10
Darktribe: Voici L’Homme (Scarlet Records) [Paul Hutchings]
Album number three from the Power Metal outfit from Nice, France. An album inspired by the Christian bible and particularly the New Testament, Voici L’Homme (Here is the Man) has a striking cover created by Giannis Nakos which leaves you in no doubt about the content of the album. Produced by Damien Rainaud (Dragon Force/Fear Factory) it’s a crisp and tidy album and if you take away the lyrical content it’s okay. Now, I don’t have an issue with Christian bands, but they do tend to be a bit wet when it comes to the lyrics. And that’s because there is no God. It’s really challenging to listen to the soaring clean vocals of Anthony Agnello praising an imaginary deity. Musically Darktribe (don’t get them confused with the German black metallers Dark Tribe whatever you do!) combine racing power metal with melodic hard rock. Multi-layered, rich on melody and harmonies, it’s a smooth and polished album, well-crafted and executed with the lead work of Loїc Mannello impressing. Plenty of keyboards and effects adding breadth. However, I cannot get past the relentless God speak which makes any vocal irritating. Three plays didn’t help. There is likely to be interest from the power metal fan base and tracks such as Tree Of Life, Faith and Vision and A March For A Prophecy are musically decent. Unfortunately, it’s not something that gets me excited … ever. 5/10