“Minimalist” is not how Desert Psychlist would describe Skulldozer’s music but that is the legend sitting beneath the bands photo on their Bandcamp page, to be fair though they do follow that up with the sentence “loud riffs” and they are definitely words we at The Psychlist can get on board with. You would probably have to ask the band themselves why they decided to describe their music as “minimalist” but we are not going to do that instead we are going to just give you our thoughts on the bands new album “High Tide” and let you decide the rest.
A few thunderous drum beats announce the arrival of first track “Bloody Ground” followed by an equally thunderous guitar and bass riff over which vocalist Ben House sings of “blood running in the streets” in tones that sit at the slightly helium end of powerful. If you were unfamiliar with the Skulldozer before hearing this track you will now know that they are kick-ass unit with their feet planted firmly in the soils of proto flavoured doom and metal, and a very good one we might add. Next track “Sign of the Times” begins with a heavily fuzzed guitar motif from Justin Morgan that is then joined by bassist Dylan Wills and drummer Jay Erbe in a ferocious stonerized metal groove that if it were a few bpm’s faster, and did not slow down to allow for a searing lead break, would almost fall into thrash territory. House once again excels in the vocal department here, his higher ended tones coming across at times like a hybrid cross between Sabbath’s Ozzy Osbourne and Dope Smoker’s Gareth Hopkins but with twice the power. Title track “High Tide” explodes out of the speakers next, the songs dynamic a mix of stop start sludge, doom and drone offset with a mantra like vocal, it is followed by “Erosion” a thrumming slightly off-centred tome with Sabbathian undertones that boasts a slightly lower key but just as effective House vocal, Dissonance and drone introduces next track “Mass Production” the band then hitting into a strident proto metal/doom groove beneath a surprisingly swinging vocal melody. Skulldozer go epic for the ten minute plus “Misanthromation“, here we find the band mixing stoner metal stridency with low’n’slow doominosity, constantly shifting up and down the musical gears around a powerfully delivered vocal that rails against fake news, lies and misinformation, the real delight here though comes when the vocals drop out and Wills and Erbe settle into a thrumming and intense dank groove which Morgan decorates with blistering but tasteful lead work. Final number “Hand of Fate” sees Skulldozer throwing everything into the musical cauldron with doom, heavy rock, stoner metal, sludge and even a little blues all getting mixed and mashed together beneath yet another powerful vocal performance, if this is what the band call “minimalist” then god knows what they might sound like if they ever decide to go down the extravagant route.
Those of you out there who bought into Skulldozer’s previous release “Killing Season” will remember that it proudly carried the legend “no bass guitars, bass simulators, or octave pedals were used in the making of this album” new album “High Tide” however does contain bass and the inclusion of that bass has brought an extra thickness and depth to Skulldozer’s sound, the songs on “High Tide” feel so much richer and fuller. Of course bass or no bass you still need good tunes and good grooves and you’ll be glad to find there is no shortage of either of those on “High Tide“.
The Scorpions are celebrating their 60th band anniversary with a special arena show in the city where it all began – Hannover, Germany. On July 5th they’re performing their most iconic songs from 60 years of band history under the motto “Coming Home” and will be accompanied by special guests Alice Cooper, Judas Priest and more. The live recording of this monumental sold out show will be available as a live album later this year – for the 45.000 fans who get to experience this historical moment in person and for all the fans all over the world who want to celebrate with the band and relive their own memories from the last six decades.
July 2nd is the 183rd day of the year, or 184th day during a leap year. It marks the halfway point of the year, with noontime being the exact halfway point in a non-leap year, and midnight serving as the halfway point of a leap year. It lends itself to today’s playlist, and eclectic mix of songs featuring the word half in their title.
A Soundgarden song (R.I.P. Chris Cornell, a musical genius lost way too soon) lends the title of the blog. Some great half songs include several mega-hits, including Crystal Gayle’s “Half the Way,” Kenny Loggins’ “Meet Me Halfway,” John Mayer’s “Half of My Heart,” Billy Joel’s “Half a Mile Away,” Styx’ “Half Penny, Two Penny,” Wilson Picket’s “A Man and a Half” and “Ninety-Nine and One-Half (Won’t Do)” with CCR covering the same song, Lifehouse’s “Halfway Gone,” Patsy Cline and Ray Charles offering “Half As Much,” Keith Urban’s “You’re My Better Half,” One Direction’s “Half a Heart,” and Jelly Roll’s “Halfway to Hell.” And a little artistic license includes Halfway to Hazard’s “Daisy,” gaining entrance to the list by virtue of the band’s name.
A disclaimer on the racist song “Half Breed” by Ricky Nelson, followed with Cher’s experience of the same with her anthem “Half-Breed.” Music should be enjoyable but also educational. We need to learn from past mistakes.
And I can’t half-think about half without bringing to mind Bilbo Baggins departure speech from the Shire:
“I don’t know half of you half as well as I should like; and I like less than half of you half as well as you deserve.” – J.R.R. Tolkien, The Fellowship of the Ring
Here Crystal Gayle shares “Half The Way” (1979). I had totally forgotten about this gem of a song. I saw Crystal at the Grand Ole Opry in 2015, singing among her hits “Don’t It Make My Brown Eyes Blue.” She’s a national treasure.
The intro keyboard sounds eerily like Elton John’s “Philadelphia Freedom” (1975). Such a ‘70s video!
For another “borrowed” song, check out the playlist song “Half a Man” by Kenny Rogers, and compare it to Fleetwood Mac’s “The Change.” Definitely Elton and Fleetwood Mac were early influencers
Kenny Loggins was such a great power balladeer of the ‘70s and ‘80s, here with “Meet Me Halfway.”
And John Mayer is such a great guitarist as well as vocalist – “Half of My Heart”
And Kelsea Ballerini reminisces about the hometown she left, yet some never seen to leave, and perhaps part of her heart still remains, in “Half of My Hometown.”
While I kind of missed the whole One Direction scene at the time, I really appreciate this song “Half A Heart.”
So you’re halfway through the year. It’s time to look back and take stock in the joys and successes, the trials and tribulations, and plan for an even better second half, with perhaps some half-year resolutions. Happy Half New Year!
I hope that this music and my blog truly serve as a “revival: a new presentation of something old,” a springboard to return to the music of your youth, or perhaps to find artists you want to discover anew. Rediscover the passion of music in your life.
Swedish newcomers We Are To Blame have been quietly building something special. Their sound mixes melodic and progressive metal with catchy, pop-leaning vocals—an unexpected combo that somehow works really well. After making a solid impression with their Duality EPs, the band is back with a new release called Altar, bringing even more depth, emotion, and musical chemistry into the mix.
We had a chat with Johan and Alice about how the band came together, the making of Altar, what it was like playing their first-ever live show at Sweden Rock Festival, and where things are heading next.
First off, congratulations on the release of Altar! What themes or ideas lie at the heart of this new EP?
Johan: Thank you so much, we are all very happy and proud over how it turned out! Musically it’s a continuation of what we did on the Duality EPs, but the level of musicianship and the arrangements was raised considerably by the contributions of Marcus (guitar), Olly (bass) and Seppo (drums). But for me, the heart and the core remains the same.
Your music combines pop-influenced vocal melodies with the weight of melodic and progressive metal—how did you arrive at that unique blend?
Johan: Before starting WATB, I spent a few years mainly in death metal bands and projects as a vocalist. But I missed the more melodic side of metal, and I missed playing guitar as well. I wanted to do something similar to the great bands I listened to in my 20s, but somehow do a fresh take on it. My thought was that I needed to work with someone with a completely different musical perspective than myself, and that is why I started to work with Alice. Her background is very different to my own, but somehow we speak the same musical language and manage to make it work.
Alice, you initially had doubts about joining a metal project. What changed your mind, and how has your journey into metal shaped you as a vocalist? Alice: Of course I had doubts, because I had not done anything like that ever before. But I’m so glad I did it, that I put my doubt aside and just threw myself out there. I think my way of writing songs has opened up for the better thanks to We Are To Blame, and also my way of singing. Now I’m a lot tougher, and I’m not as afraid as I was to stretch my boundaries and broaden my horizon.
Johan, what inspired you to seek a pop vocalist for a metal band in the first place?
Johan: As I mentioned, I wanted to work with someone who had a different perspective than me, and a lot of pop artists have a great feeling for melodies. And I figured that it could bring something different to the music, something that I couldn’t do with a metal vocalist. And working with Alice has been amazing, not only the music and lyrics she writes but how she has influenced me to write as well. Even for the songs that I’ve written lyrics and vocal lines for, I could not have written if I hadn’t worked with Alice.
The band is named We Are To Blame—what’s the meaning behind that name, and how does it reflect your music or message?
Johan: We as humans often tend to divert responsibility to something outside of ourselves. It can be anything from being too tired from work to do laundry, to blaming former generations for global warming, to hating other people because an authority figure says so. The name ‘We Are To Blame’ serves as a reminder to look at what we ourselves can do to be the best versions of ourselves, to look inside and work on what we can control, instead of focusing on the things we cannot change.
Altar follows the critically praised Duality EPs. How would you say your sound has evolved between those releases and now?
Johan: To me, the biggest difference has come from getting a complete lineup of incredible musicians. Marcus, Olly and Seppo managed to take what we did earlier and make it a thousand times better! Even the old songs, just rehearsing for the first time with these guys made my jaw drop. The core of the songs are still from the same mindset as before, but the execution is at an entirely different level.
You played your debut live show at Sweden Rock Festival 2024—what was that experience like for you as a band?
Johan: Oh, I don’t know if I can find the words for it. It was the first time we played live with this lineup, and we actually rehearsed for the first time with the full band 3 days before the show. But the experience was pure magic, just the opportunity to play at Sweden Rock Festival was something you only dreamt about as a kid, so to actually stand there and play music for that crowd was simply surreal!
There’s a strong Scandinavian character to your music, mixing light and darkness in a way that feels very Nordic. Do you think your geography and culture influence your sound? Alice: Both yes and no. I think the main reason we have our mixed sound is because of our different musical backgrounds. All our different experiences have led us towards our sound.
Johan: To an extent i agree with Alice, but Sweden has a very strong music life with accessible musical education that i very strongly believe is a big reason for why Sweden delivers so many amazing musicians. I, and many others, are deeply saddened that the current government is dismantling it, but I have hope that the tides will turn and that we will rebuild it.
You use both symphonic and electronic elements in your arrangements—how do you decide what to bring into each song’s atmosphere?
Johan: We just try to serve the song with each decision. Some songs or parts require a lot of synths to really pop, others an orchestra. Sometimes it’s better to keep it sparse. I tried to put into words how I reason with each part, but in the end it all comes down to gut feeling. Does it make me feel something, or enhance what I’m already feeling? If so, it stays. If not, it goes away.
Lyrically, your songs often deal with personal and emotional themes. Where do you draw inspiration from when writing?
Alice: All the inspiration to my lyrics I pick from my own life. It can be both very personal and close experiences but also something I read in a book that stuck on me. I always have to feel something in myself so I can write honestly and truthfully. It’s important for me to give a little bit of myself in our music to be true to myself.
Johan: I agree with Alice wholeheartedly. If I write about something that doesn’t make me feel something, how can I expect the listener to feel something?
As a band that’s hard to place in a single genre, how do you navigate creating a sound that’s both familiar and fresh?
Johan: It was a concern when we started writing music, but as things fell into place I’ve gotten more comfortable and secure in what we do. So at this point, I trust our taste and the decisions we make and just roll with it. As long as we make music we are proud of, I have full confidence in what we do as a band.
What kind of feedback have you been getting from fans and press around Altar?
Johan: So far it’s been nothing but positive! Our fans seem to enjoy the new stuff, and we are so excited to share more music with everyone.
Looking ahead, what’s next for We Are To Blame—new releases, more live shows, or perhaps a full-length album?
Johan: As a matter of fact, we are currently working on our first full-length album! No dates are set yet, but we are finishing up the last pieces of recording and have started to work on the mixes. So keep an eye out on our socials for news, and before you know it you will have more ‘We Are To Blame’ to listen to!
For more about We Are to Blame visit the band’s website, and make sure to check out Altar on Bandcamp.
A highly concept track, this octane fueled new release is from Italian metal outfit C∀RNELI∀N. Taking a high energy approach to pacing from the very jump, Enemy: Your Reflection is a hard and heavy hitter with an impressive attention to detail. Plucky bass guitar, roiling drum work and impeccably written lyricism, this is an underground act that definitely deserves your full attention, if not for their style and creative musical aptitude alone.
Bushfire, current line up Bill Brown (vocals); Miguel Pereira (guitar); Luis Jacobi (guitar) Nic Kurz (bass) and Sascha Holz (drums), are a band who have been knocking around this scene for a while now but strangely, despite sharing stages with some of the scenes biggest guns, have never quite achieved the levels of recognition their sludgy take on blues and southern metal so richly deserves. Hopefully that state of affairs will change with the release of latest album “Snakes Bite Tales” a heavy punching opus that sees the ban, jamming some of the best, in our opinion, grooves they have recorded since their inception
Opening track “Cult of Conformity” comes out of the traps full on and forceful then settles down into a mid-tempo chugging groove over which the songs lyrics are delivered in tones gruff throaty and powerful the vocalist coming over at times like a prime period Phil Anselmo (Pantera/Down) against a backdrop of ever-shifting riffage, unbelievably busy drumming and piercing lead guitar work. Next song ,”Force Of 1000 Suns“, is a thunderous opus with ear-catching guitar motifs and forceful raw edged vocals and is followed by “Dead Man’s Hand” a throbbing heavy metal bluesy rocker that sees the band coming over like a hardcore version of Creedence Clearwater Revival in places. Things get a little doomic and lightly psychedelic on the slightly more restrained “Self Inflicted Bite” but then go in a Clutch-like direction on the pulsating “Comfort In Silence“. “Under Willow Tree” starts its life down home and bluesy with slide guitars, liquid bass and shimmering percussion framing wearied vocal tones but then slowly increases in volume and intensity to take on a torch-like dynamic before signing off in a crescendo of strident rhythms and searing solos. You might need to fasten your seatbelts for the furious and hard driven “Watch You Drown” a pacey heavy rocker that gives no quarter musically or vocally. “Valley Of The Freak” is a perfect mixture of southern rock swagger and heavy metal bluster with vocals that sway between laid back crooning and full on roaring over a groove that is constantly shifting up and down its gears. Final song “InTERRORgate” incorporates slurred grungy guitar riffage with doomic rhythm patterns and tops it all off with vocal tones that range from hushed whispers to full on harshness while making stops at all the various dynamics in-between, a mighty finish to a damn mighty album.
Those who are familiar with Bushfire and their output will know that these guys put their hearts and souls into everything they do and that is why there is no such thing as a bad Bushfire release. “Snake Bite Tales” is no different, in fact it maybe their best release to date… well that is until the next one.
Bushfire, current line up Bill Brown (vocals); Miguel Pereira (guitar); Luis Jacobi (guitar) Nic Kurz (bass) and Sascha Holz (drums), are a band who have been knocking around this scene for a while now but strangely, despite sharing stages with some of the scenes biggest guns, have never quite achieved the levels of recognition their sludgy take on blues and southern metal so richly deserves. Hopefully that state of affairs will change with the release of latest album “Snakes Bite Tales” a heavy punching opus that sees the ban, jamming some of the best, in our opinion, grooves they have recorded since their inception
Opening track “Cult of Conformity” comes out of the traps full on and forceful then settles down into a mid-tempo chugging groove over which the songs lyrics are delivered in tones gruff throaty and powerful the vocalist coming over at times like a prime period Phil Anselmo (Pantera/Down) against a backdrop of ever-shifting riffage, unbelievably busy drumming and piercing lead guitar work. Next song ,”Force Of 1000 Suns“, is a thunderous opus with ear-catching guitar motifs and forceful raw edged vocals and is followed by “Dead Man’s Hand” a throbbing heavy metal bluesy rocker that sees the band coming over like a hardcore version of Creedence Clearwater Revival in places. Things get a little doomic and lightly psychedelic on the slightly more restrained “Self Inflicted Bite” but then go in a Clutch-like direction on the pulsating “Comfort In Silence“. “Under Willow Tree” starts its life down home and bluesy with slide guitars, liquid bass and shimmering percussion framing wearied vocal tones but then slowly increases in volume and intensity to take on a torch-like dynamic before signing off in a crescendo of strident rhythms and searing solos. You might need to fasten your seatbelts for the furious and hard driven “Watch You Drown” a pacey heavy rocker that gives no quarter musically or vocally. “Valley Of The Freak” is a perfect mixture of southern rock swagger and heavy metal bluster with vocals that sway between laid back crooning and full on roaring over a groove that is constantly shifting up and down its gears. Final song “InTERRORgate” incorporates slurred grungy guitar riffage with doomic rhythm patterns and tops it all off with vocal tones that range from hushed whispers to full on harshness while making stops at all the various dynamics in-between, a mighty finish to a damn mighty album.
Those who are familiar with Bushfire and their output will know that these guys put their hearts and souls into everything they do and that is why there is no such thing as a bad Bushfire release. “Snake Bite Tales” is no different, in fact it maybe their best release to date… well that is until the next one.
