King Solomon Hicks: Harlem (Provogue Records) [Paul Hutchings]
King Solomon Hicks is a 24-year-old blues musician who grew up in Harlem. He releases his debut album via Provogue, a division of Mascot Label Group. A musician since the age of six when he first picked up a guitar, Hicks salutes his roots on this 11-track release which showcases his talent. Growing up in Harlem was a musical education comparable only to one place in the USA. "It’s not like New Orleans, where music is 24 hours a day -- but it's close” he says. By 13 he was already on the stage at the Cotton Club, four times a week, as lead guitarist in the clubs’ 17 piece band and was already playing in legendary venues such as St. Nick’s in Sugar Hill and the iconic Lenox Lounge which had seen the likes of Miles Davis and John Coltrane grace the stage. Hicks started working on Harlem two years ago, finishing the album with multiple Grammy Award winner Kirk Yano (Miles Davis, Public Enemy, Mariah Carey) in the production chair.
King Solomon Hicks is a 24-year-old blues musician who grew up in Harlem. He releases his debut album via Provogue, a division of Mascot Label Group. A musician since the age of six when he first picked up a guitar, Hicks salutes his roots on this 11-track release which showcases his talent. Growing up in Harlem was a musical education comparable only to one place in the USA. "It’s not like New Orleans, where music is 24 hours a day -- but it's close” he says. By 13 he was already on the stage at the Cotton Club, four times a week, as lead guitarist in the clubs’ 17 piece band and was already playing in legendary venues such as St. Nick’s in Sugar Hill and the iconic Lenox Lounge which had seen the likes of Miles Davis and John Coltrane grace the stage. Hicks started working on Harlem two years ago, finishing the album with multiple Grammy Award winner Kirk Yano (Miles Davis, Public Enemy, Mariah Carey) in the production chair.
The result is a smouldering, fiery emotion filled release which showcases his talent. The album contains a mix of originals such as 421 South Main, the gospel shuffle of Have Mercy On Me and the searing instrumental Riverside Drive, alongside classic staples which need little introduction. A raucous and feisty Everyday I Sing The Blues arrives early in the track listing, Heading Back To Memphis contains ample soul to do the track justice whilst the closing duo of It's Alright, and a storming rendition of Sonny Boy Williamson's Help Me close the album in style. It’s mellow, oozes quality and with Hicks aided by numerous players that include members of Soulive, Lettuce, Jack White and Hank William Jr.'s band as well as Foghat/Savoy Brown veteran Roger Earl, this is certainly an album to kick back and relax to. This is the blues today. As Hicks said, “I wanted people to feel like they're in a juke joint, listening to what the blues sounds like in 2019, my own spin on it". 7/10
Earth Drive: Helix Nebula (Raging Planet) [Matt Bladen]
"The Helix Nebula, also known as NGC 7293, is a planetary nebula located in the constellation Aquarius, it is one of the closest to the Earth of all the bright planetary nebulae". So a phenomenon that is brimming with light, dark and wonder. Similarly Helix Nebula the album is the third from Portuguese psychedelic doomsters Earth Drive and at times moves into the spectacular, vocally especially. Earth Drive have a cosmic force about them, an otherworldliness, on creeping numbers like the instrumental Anulom Vilom that segues into the intoxicating Science Of Pranayama they bewitch and beguile, using numerous instrumental interludes to create an atmosphere, with lots of ambient sounds coming from distant galaxies as they seep into space wizardry like Space God. It means that when the down-tuned riffs and brilliant soaring dual vocals come back on tracks such as the percussive title track, the throbbing Spectra and the heavy driving Axial View they really show their intricately layered musicality. Earth Drive are a four piece consisting of Luis Silva (bass), Sebastião Santos (drums), Sara Antunes (vocals) and Hermano Marques (vocals/guitar) and their third album really nails the psych rock template adding some dirty biker riffs, pop sensibilities and heaving dose of ambience, it's full of twists that catch your ear. Highly recommended. 8/10
The Oneira: Injection (Rockshots Records) [Paul Hutchings]
Oneira is the Greek word for dream. An apt name for a band whose wistful soundscapes and progressive meanderings shapes their sound in a style which blends elements of Yes, Porcupine Tree and Rush amongst many others. Injection is the band’s third release, their first for Rockshots Records and it’s a fabulous journey over nine tracks that vary in length, style and approach. Greek multi-instrumentalist Filippos Gougoumis is the composer and guitarist for the band, his dexterity and stunning work utilizing lead and rhythm guitars, 12 strings guitar, bass and backing vocals. Manuel Ruscigno’s vocals soar far into the sky, whilst the remaining members, Gianpaolo “Banjo” Begnoni on keyboards and programming and Danilo “Sakko” Saccotelli on drums & percussion and backing vocals bring plenty to the table. The high pitched Still Free To Choose opens the album, a mix of synthesisers and sharp guitar riffs supporting the intricate lyrics of Manuel Ruscigno, whose delivery inevitably draws comparisons with Anderson, La Brie and Lee.
Earth Drive: Helix Nebula (Raging Planet) [Matt Bladen]
"The Helix Nebula, also known as NGC 7293, is a planetary nebula located in the constellation Aquarius, it is one of the closest to the Earth of all the bright planetary nebulae". So a phenomenon that is brimming with light, dark and wonder. Similarly Helix Nebula the album is the third from Portuguese psychedelic doomsters Earth Drive and at times moves into the spectacular, vocally especially. Earth Drive have a cosmic force about them, an otherworldliness, on creeping numbers like the instrumental Anulom Vilom that segues into the intoxicating Science Of Pranayama they bewitch and beguile, using numerous instrumental interludes to create an atmosphere, with lots of ambient sounds coming from distant galaxies as they seep into space wizardry like Space God. It means that when the down-tuned riffs and brilliant soaring dual vocals come back on tracks such as the percussive title track, the throbbing Spectra and the heavy driving Axial View they really show their intricately layered musicality. Earth Drive are a four piece consisting of Luis Silva (bass), Sebastião Santos (drums), Sara Antunes (vocals) and Hermano Marques (vocals/guitar) and their third album really nails the psych rock template adding some dirty biker riffs, pop sensibilities and heaving dose of ambience, it's full of twists that catch your ear. Highly recommended. 8/10
The Oneira: Injection (Rockshots Records) [Paul Hutchings]
Oneira is the Greek word for dream. An apt name for a band whose wistful soundscapes and progressive meanderings shapes their sound in a style which blends elements of Yes, Porcupine Tree and Rush amongst many others. Injection is the band’s third release, their first for Rockshots Records and it’s a fabulous journey over nine tracks that vary in length, style and approach. Greek multi-instrumentalist Filippos Gougoumis is the composer and guitarist for the band, his dexterity and stunning work utilizing lead and rhythm guitars, 12 strings guitar, bass and backing vocals. Manuel Ruscigno’s vocals soar far into the sky, whilst the remaining members, Gianpaolo “Banjo” Begnoni on keyboards and programming and Danilo “Sakko” Saccotelli on drums & percussion and backing vocals bring plenty to the table. The high pitched Still Free To Choose opens the album, a mix of synthesisers and sharp guitar riffs supporting the intricate lyrics of Manuel Ruscigno, whose delivery inevitably draws comparisons with Anderson, La Brie and Lee.
A different sound for Know That Feeling, which combines the punch of Placebo and 80s Rush. A driving guitar riff keeps this track motoring forward, one of the standout tracks on the album. Intricacy is the word that returns time and time again throughout this album. At times it ebbs into melodic rock; for example, Paint Your Soul is a gentle song which drops tempo. Trust No One is full of almost 80s pomp, chopping guitars and Begnoni’s keys majestic. It’s when the band get into full flight, such as the magnificent Behind The Sun, essentially one massive progressive jam and the closing seven minute title track where The Oneira really flex the musical muscles. Full of contrasts, quality musicianship and enough noodling to fill a Wagamamas, if you like your music to challenge the grey matter, this should be on your list. 8/10
The Goners: Good Mourning (RidingEasy Records) [Matt Bladen]
Ah, retro Swedes, two words that will be forever etched in history. If it's old school then the Swedish will probably dig it. The Goners are retro, unashamedly so, featuring Salem's Pot vocalist/guitarist Nate Gone and former members of Swedish rock band Yvonne, they play something that can be called Surf Doom. Imagine Electric Wizard channelling Dick Dale and The Beach Boys and you'd nearly be there, there's Stooges-like garage rock, headache inducing doom fuzz and some punk rock snarling to keep the retro feel alive across the full runtime of this record. Good Mourning is the band's debut record and it comes out fully formed, clearly this noise has either been carefully refined in the studio or it's been delivered with a "f*** it" attitude shaping things as they come. It doesn't really matter which it is, as Good Mourning balances all of its influences well casting a cosmic journey that has a dark undercurrent to it. Open, heavily reverbed surf rock chords cut through the ear bashing doom riffage, warping the mind as they do. It's trippy stuff and very unique in a world of miserable doom riffs. I suggest you check it out. 7/10
The Goners: Good Mourning (RidingEasy Records) [Matt Bladen]
Ah, retro Swedes, two words that will be forever etched in history. If it's old school then the Swedish will probably dig it. The Goners are retro, unashamedly so, featuring Salem's Pot vocalist/guitarist Nate Gone and former members of Swedish rock band Yvonne, they play something that can be called Surf Doom. Imagine Electric Wizard channelling Dick Dale and The Beach Boys and you'd nearly be there, there's Stooges-like garage rock, headache inducing doom fuzz and some punk rock snarling to keep the retro feel alive across the full runtime of this record. Good Mourning is the band's debut record and it comes out fully formed, clearly this noise has either been carefully refined in the studio or it's been delivered with a "f*** it" attitude shaping things as they come. It doesn't really matter which it is, as Good Mourning balances all of its influences well casting a cosmic journey that has a dark undercurrent to it. Open, heavily reverbed surf rock chords cut through the ear bashing doom riffage, warping the mind as they do. It's trippy stuff and very unique in a world of miserable doom riffs. I suggest you check it out. 7/10