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These bands should have been huge. A baker’s dozen of Glam and Grit bands that should have been–would have been–huge. Read Now

Cortége – Chasing Daylight (2021)

Having been around for about half a decade, the Austin-based duo of Cortége have put out a good half-dozen releases. With the sci-fi flavor of their presentation, and the doomed Western vibe to the music, it’s tempting to compare them to the KC-based Merlin, of Christ Killer fame. But with this new two-track EP, coming together at just over a quarter of an hour, the band clearly shows their own distinctively Texas-sun-scorched character, with morbidity and melancholy never entirely deprived of stylish swagger.

Starting off with some tone-setting engine cranking and radio-tuning (including reports of a Texas-sized meteor), Cortége then slam into a huge and moody funeral stomp, shift gears into a dirge-like gloom, and rumbles on from there. Despite the rowdiness of the opening, a considerable part of the song is focused on drifting tones and slow riff grooving, simply relishing the details of the instrumental swamp they’re exploring. It’s like a mix of the classic Italian film music for low-budget but high-ambition flicks in the western and horror genres, fused around dramatic and goosebump-raising foci.

The break into the second half squeals through on rough tires, but carries listeners smoothly into deeper and darker audio territory, somehow almost somber in its bar-twang guitar and boot-step percussion. As much as it tends to hang onto one riff for a while, the musicians coax an amazing amount of nuanced characterization from the wide-spaced clangs and chords. It helps that they’re willing to experiment with instruments, bringing keyboards and bells to prominence alongside the usual doom metal bass/drums/guitar. All together, it’s a very impressive EP, and a concise, compelling argument for the band’s skills across an open range. If you haven’t checked the band out before, this makes for an excellent intro; and if you have, it’s a welcome reminder of just how damn good they are.

~ Gabriel

For Fans Of; Broughton’s Rules, Farflung, Frozen Planet….1969, Strato’s, Tumbleweed Dealer

Facebook • BandCamp

~

Cortége – Chasing Daylight (2021)

Having been around for about half a decade, the Austin-based duo of Cortége have put out a good half-dozen releases. With the sci-fi flavor of their presentation, and the doomed Western vibe to the music, it’s tempting to compare them to the KC-based Merlin, of Christ Killer fame. But with this new two-track EP, coming together at just over a quarter of an hour, the band clearly shows their own distinctively Texas-sun-scorched character, with morbidity and melancholy never entirely deprived of stylish swagger.

Starting off with some tone-setting engine cranking and radio-tuning (including reports of a Texas-sized meteor), Cortége then slam into a huge and moody funeral stomp, shift gears into a dirge-like gloom, and rumbles on from there. Despite the rowdiness of the opening, a considerable part of the song is focused on drifting tones and slow riff grooving, simply relishing the details of the instrumental swamp they’re exploring. It’s like a mix of the classic Italian film music for low-budget but high-ambition flicks in the western and horror genres, fused around dramatic and goosebump-raising foci.

The break into the second half squeals through on rough tires, but carries listeners smoothly into deeper and darker audio territory, somehow almost somber in its bar-twang guitar and boot-step percussion. As much as it tends to hang onto one riff for a while, the musicians coax an amazing amount of nuanced characterization from the wide-spaced clangs and chords. It helps that they’re willing to experiment with instruments, bringing keyboards and bells to prominence alongside the usual doom metal bass/drums/guitar. All together, it’s a very impressive EP, and a concise, compelling argument for the band’s skills across an open range. If you haven’t checked the band out before, this makes for an excellent intro; and if you have, it’s a welcome reminder of just how damn good they are.

~ Gabriel

For Fans Of; Broughton’s Rules, Farflung, Frozen Planet….1969, Strato’s, Tumbleweed Dealer

Facebook • BandCamp

~

The online symphonic metal collective Valcata will release a new standalone single Tower on February 12th, 2021. Pre-save the song on Spotify here: https://show.co/iN8Pcpg

The composer of the project Oha Cade is originally from Clonakilty, Ireland, but is now based in Brooklyn, New York. He has this to say regarding Tower,

“Tower is, like our debut in 2019, a remote online production. Several musicians who featured on the 2019 album have returned, but we’re also introducing new guests. Vocal-wise, on the returning side we have the incredible talents of Hadi Kiani (Gereh, The Frame, Deaton LeMay Project) and Angel Wolf-Black (Goditha, Alexandra Zerner, Vivaldi Metal Project), who reprise their roles as Hessabi and Hypatia. Our new guest is Joshua Morse from the band The Doubted, who appears as the new character Morbus, and delivers Valcata’s first ever harsh vocals.

Drummer Jonas Schütz (Sacrosanct, Sapiency, Eraserhead, Diësis, Condemned to Dream, First Encounter, Oceanrise) returns again to grace us with his hammer-hearted rhythms. Then we have three new maestros — João Miguel (Enblood, Tokyo Wanderer) on guitars, Chris Kollias (SL Theory, Serenity Broken, Persona Non Grata) on bass, and Nathaniel Wolkstein (Just Nathaniel, Gravity the Architect, Imagine the Moon) on strings — all of whom elevated this music with their creativity and unique contributions.

Last but certainly not least, this track was mixed and mastered by the legendary producer Jacob Hansen, who has brought to life the music of many bands that influenced us such as Volbeat, Amaranthe, Fleshgod Apocalypse, and Delain.

The artwork was done by Joshua McQuary (McMonster), who creates stunning watercolors. His style perfectly captures the song’s atmosphere.

Since our debut in October 2019, I’ve been feverishly working on new music. While my ultimate goal is to create another full-length album, some things just can’t wait. When you hear this song and the lyrical themes, you’ll see why.”

A teaser video is scheduled for next Friday, February 5th. Mailing list subscribers will receive the video in their inbox a couple days early.

Follow Valcata here: valcata.com/links

Below are the full credits:

MIXING AND MASTERING
Jacob Hansen (Pyramaze, Volbeat, Amaranthe, Delain)

VOCALISTS
Hadi Kiani (Gereh, The Frame, Deaton LeMay Project) — as Hessabi
Angel Wolf-Black (Goditha, Alexandra Zerner, Vivaldi Metal Project) — as Hypatia
Joshua Morse (The Doubted) — as Morbus

GUITARS
João Miguel (Enblood, Tokyo Wanderer)

BASS
Chris Kollias (SL Theory, Serenity Broken, Persona Non Grata)

DRUMS
Jonas Schütz (Sacrosanct, Sapiency, Eraserhead, Diësis, Condemned to Dream, First Encounter, Oceanrise)

STRINGS
Nathaniel Wolkstein (Just Nathaniel, Gravity the Architect, Imagine the Moon)

SYNTHS
Oha Cade

ARTWORK
Joshua McQuary (McMonster)

The online symphonic metal collective Valcata will release a new standalone single Tower on February 12th, 2021. Pre-save the song on Spotify here: https://show.co/iN8Pcpg

The composer of the project Oha Cade is originally from Clonakilty, Ireland, but is now based in Brooklyn, New York. He has this to say regarding Tower,

“Tower is, like our debut in 2019, a remote online production. Several musicians who featured on the 2019 album have returned, but we’re also introducing new guests. Vocal-wise, on the returning side we have the incredible talents of Hadi Kiani (Gereh, The Frame, Deaton LeMay Project) and Angel Wolf-Black (Goditha, Alexandra Zerner, Vivaldi Metal Project), who reprise their roles as Hessabi and Hypatia. Our new guest is Joshua Morse from the band The Doubted, who appears as the new character Morbus, and delivers Valcata’s first ever harsh vocals.

Drummer Jonas Schütz (Sacrosanct, Sapiency, Eraserhead, Diësis, Condemned to Dream, First Encounter, Oceanrise) returns again to grace us with his hammer-hearted rhythms. Then we have three new maestros — João Miguel (Enblood, Tokyo Wanderer) on guitars, Chris Kollias (SL Theory, Serenity Broken, Persona Non Grata) on bass, and Nathaniel Wolkstein (Just Nathaniel, Gravity the Architect, Imagine the Moon) on strings — all of whom elevated this music with their creativity and unique contributions.

Last but certainly not least, this track was mixed and mastered by the legendary producer Jacob Hansen, who has brought to life the music of many bands that influenced us such as Volbeat, Amaranthe, Fleshgod Apocalypse, and Delain.

The artwork was done by Joshua McQuary (McMonster), who creates stunning watercolors. His style perfectly captures the song’s atmosphere.

Since our debut in October 2019, I’ve been feverishly working on new music. While my ultimate goal is to create another full-length album, some things just can’t wait. When you hear this song and the lyrical themes, you’ll see why.”

A teaser video is scheduled for next Friday, February 5th. Mailing list subscribers will receive the video in their inbox a couple days early.

Follow Valcata here: valcata.com/links

Below are the full credits:

MIXING AND MASTERING
Jacob Hansen (Pyramaze, Volbeat, Amaranthe, Delain)

VOCALISTS
Hadi Kiani (Gereh, The Frame, Deaton LeMay Project) — as Hessabi
Angel Wolf-Black (Goditha, Alexandra Zerner, Vivaldi Metal Project) — as Hypatia
Joshua Morse (The Doubted) — as Morbus

GUITARS
João Miguel (Enblood, Tokyo Wanderer)

BASS
Chris Kollias (SL Theory, Serenity Broken, Persona Non Grata)

DRUMS
Jonas Schütz (Sacrosanct, Sapiency, Eraserhead, Diësis, Condemned to Dream, First Encounter, Oceanrise)

STRINGS
Nathaniel Wolkstein (Just Nathaniel, Gravity the Architect, Imagine the Moon)

SYNTHS
Oha Cade

ARTWORK
Joshua McQuary (McMonster)

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Another heavily underrated local act, this Melbourne band has been around for quite some time, and this is their second full-length album.

Forgotten Ancestors finds them progressing strongly from their debut, 2017’s Pathways (which itself was excellent), winding out and really exploring their sound, and producing a highly cohesive work of bluesy-arse art that will appeal strongly to anyone who likes anything from Black Sabbath to Kyuss to Helm to Celtic Frost. And just about everything in between.

This album is seven tracks, although 40-odd minutes’ worth, of pure ballsy stomp, with riffs aplenty, slamming drums, a chunky, chugging, uber-tight rhythm section, wah-drenched lead breaks and powerful, soulful vocals soaring over the top. There is not a single weak track among the seven on offer, although they certainly saved the best til last: penultimate track Down to the Stars is the record’s best cut. Its sense of down-tempo but dynamic raunch is just enthralling. Then Backchat closes proceedings in epic, grandiose and sometimes eerie and atmospheric style.

And arguably the best thing about it all is that there is a real sense of boogie to their sound. You can move and groove to it while you slam your fist to the sky and spill beer all over yourself while you stagger around the pit in a happy drunken frenzy.

To tip it all off, the production is real, raw, powerful and highly listenable all at once. You can hear every instrument with great clarity as well as all the sweat, blood and tears that have obviously gone into this album’s creation. Much kudos to everyone involved in this record’s engineering, recording, mixing and mastering.

If you dig your rock ‘n’ roll with balls of steel and an old-school aesthetic, then Forgotten Ancestors is your bag.

Band: El Colosso
Album: Forgotten Ancestors
Year: 2020
Genre: Heavy stoner/blues rock
Label: Independent
Origin: Australia

The post El Colosso – Forgotten Ancestors first appeared on Metal Obsession.

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