“Without Lemmy, The Pretenders wouldn’t have happened”

“Without Lemmy, The Pretenders wouldn’t have happened”

And the World Turns Around
The Making of Kylesa’s Static Tensions

By the time Kylesa released Static Tensions in the spring of 2009, their native Georgia had established itself as a hotbed of sludgy, but fundamentally forward-thinking American metal. Mastodon, from Atlanta, were the standard-bearers: a white-hot ball of energy that had managed to channel their inborn wildness into a series of increasingly progressive albums. Baroness, from Kylesa’s hometown of Savannah, had released Red Album, the first entry in their genre-exploding color wheel suite, and they would soon one-up it with Blue Record. Their frontman, John Dyer Baizley, had become metal’s go-to cover artist. Black Tusk and Zoroaster were blowing out PAs all over the country, and Whores were just about to launch. These were heady times in the Land of the Peach.

Kylesa were veterans of that scene, but their pedigree also predated it. Guitarist and vocalist Phillip Cope was a founder of crust/sludge miscreants Damad, who had formed in Savannah way back in 1993. Laura Pleasants, the other half of the two-headed dragon at the front of the Kylesa stage, met Cope at a Damad show when she was still in high school. (He was wearing a Black Sabbath shirt; she was wearing a Black Sabbath shirt; she said, “Hey, nice Black Sabbath shirt!”) Drummer Carl McGinley also played in Unpersons, a doggedly underground Savannah doom outfit that had started gigging in the late ’90s. Kylesa were even early to the punch among their own microgeneration: The band’s self-titled debut beat Mastodon’s Remission to record store shelves by a month.

Static Tensions was Kylesa’s fourth full-length, and it found the band molding the raw clay of their musical backgrounds and diverse tastes into something truly dazzling. Its immediate predecessor, 2006’s Time Will Fuse Its Worth, had introduced the band’s novel dual-drummer configuration, but on Static Tensions, they took that idea much further. Eric Hernandez joined the fold on drums, providing dexterous, almost tribal-sounding flourishes as a counterweight to the metronomic timekeeping of his co-drummer McGinley. (In a canny piece of record producing, the Static Tensions mix hard-panned the two drum kits, so what each player is doing is isolated on each channel.) Javier Villegas, best known for his work with the pioneering NYC punks Born Against, stepped in on bass. By combining their keen ear for melody, their progressive tendencies, hardcore aggression, crust-punk nastiness and psychedelic scope, Kylesa came up with one of the defining releases of the “Southern sludge” era. In 2025, after a near-decade hiatus, the band is on the road again, playing a setlist drawn primarily from the album.

In his 2009 review of Static Tensions for Pitchfork, Decibel contributor Cosmo Lee wrote, “If the world were just, Kylesa would be a household name.” We agree. Let’s call inducting Static Tensions into our hallowed Hall of Fame a good start.

Need more classic Kylesa? To read the entire seven-page story, featuring interviews with all three members who performed on Static Tension, purchase the print issue from our store, or digitally via our app for iPhone/iPad or Android.

The post Kylesa – Static Tensions appeared first on Decibel Magazine.

The Speakeasy footage is hosted by famed Woodstock MC Chip “Brown Acid” Monck

The Speakeasy footage is hosted by famed Woodstock MC Chip “Brown Acid” Monck

GNOSiS by CYNiKAL moves in a linear flow, but that is exactly where its strength lies. The progression feels steady and intentional, locking you into its rhythm from the start and never letting go. His delivery is focused and grounded, riding the beat with a hypnotic consistency that makes the track quietly addictive. There is a reflective tone throughout, but it never drifts, staying centered and controlled.

The result is a compelling listen that pulls you deeper with each bar, proving that simplicity, when done right, can be seriously captivating.

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Review by Simon Russell-White Photos by Sarah Gilpin Photography Tonight the line of die-hard metal fans stretched down Costin Street to Water Street in Brisbane’s Fortitude Valley. This patient army of fans whose wears alone tells the deep history of a band whose very existence plays/ played a significant role in paving the way for […]

Eliza Neals is busy these days, creating some wall-shaking thunder with her brand-new release, Thunder In The House. Hailing from the Detroit, Michigan area, she was exposed to a wealth of great music. She was encouraged to take piano lessons and sang with her sisters early in her musical journey. She also graduated from Wayne State University in Detroit with a Bachelor of Arts degree.

Neals toured Europe with the school’s chorale group, but eventually returned to Detroit, where the blues soon came knocking at her door. There, she began singing at popular clubs, working to fine-tune her playing and vocal delivery. A chance meeting with Motown great Barrett Strong sparked a friendship that led Neals to pursue a career in blues, soul, and R&B music. Since then, she has not looked back, recording thirteen studio albums and earning numerous award nominations and wins.

I always like to make sure that I credit great musicianship, and Thunder In The House is supported by excellent players, including Eliza Neals herself. There are nine well-crafted tracks, and Neals has either written or co-written each of them. I love the way some of the vocals have been layered on this recording. Listening with headphones really allows you to hear these vocals as they should be heard. They are tasteful and enjoyable.

“Speedy Beady” kicks off the album with a lighthearted song about a red rooster that is “waking me up at the crack of dawn.” Neals also sings about old Speedy Beady sleeping with the girl chickens when he does not even know their names. There is some nice guitar work on this tune to complement the great storyline about this promiscuous rooster. You can also find a video of “Speedy Beady” on YouTube.

“Love Will” features strong guitar work throughout and is another track available on YouTube. Neals sings, “So many people losing their faith. We need love to brighten up their day.” I especially like the ending when she repeats, “love will brighten up their day.” Love is one thing that costs so little and means so much. We could all work harder at sharing more of it these days.

On “Wicked Heart,” Eliza Neals delivers a powerful vocal performance. “Wicked heart, tearing me apart; the Devil is your middle name.” This song also features some fiery guitar work that adds to its intensity.

The final track on Thunder In The House is the title track, “Thunder In The House,” and it is a strong closer. There is some exceptional slide guitar work throughout. “Thunder and lightning, so very frightening; thunder in the house.” This slower number has a dark, moody feel. “Be quiet as a mouse,” Neals sings, hinting at lingering memories that cannot be forgotten.

The musicianship, vocals, and songwriting across this recording are consistently solid. Neals’ voice carries a gravelly, coarse texture that makes everything she sings sound bluesy, soulful, and powerful.

Thunder In The House is a recording that listeners will likely enjoy revisiting time and again. As a fan of live music, both in person and recorded, I have watched Eliza Neals perform in available videos, and that is where she truly shines brightest.

Mick Jagger has reportedly said this about Neals: “a voice I soon won’t forget,” and I agree with that statement. She has built an impressive list of musical collaborations, having worked with artists such as Joe Louis Walker, King Solomon Hicks, Peter Keys, Derek St. Holmes, Popa Chubby, Tony Joe White, Mike Zito, Tommy Castro, Albert Castiglia, and Walter Trout.

If you get the opportunity, be sure to catch Eliza Neals live and give Thunder In The House a listen. You will be glad you did.

The Review: 9/10

Can’t Miss Tracks

– Speedy Beady
– Love Will
– Wicked Heart
– Thunder In The House

The Big Hit

– Thunder In The House

Buy the album: Eliza Neals on Bandcamp

The post Eliza Neals: Thunder In The House Review appeared first on Blues Rock Review.

Regina by The Swifties carries that rough edged charm of lo fi punk, where imperfections feel intentional and alive. The instrumental unfolds with a scrappy, instinct driven energy, balancing grit with a strangely melodic undercurrent. There is a rawness in the way the elements collide, like a demo that refuses to be polished, holding onto its identity instead. Beneath the noise, a subtle sense of structure keeps everything from falling apart.

It feels restless, a little chaotic, but honest to the core, capturing that DIY spirit where feeling always comes before finesse.

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Decay by Signal-23 moves like a slow burning current, pulling you under with its weight rather than force. The sub bass does not just hit, it rolls in waves, deep and immersive, wrapping around the tight, mechanical pulse of the drums. There is a constant tension simmering beneath the surface, as moody textures drift in and out like distant signals trying to break through.

It feels like a more sci fi leaning take on the pioneering Boards of Canada, colder and more controlled. A dark, hypnotic piece that lingers in the body as much as in the mind.

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