Of course, the super group, and I am in no way using that term loosely, Yawning Balch, produced another killer atmospheric, desert-psych-trip on the fourth installation of the collaboration, aptly titled Volume 4.
Yawning Man have been consistently awesome for decades now, with their what can only be described as legendary psychedelic desert instrumental goodness, but adding Mr. Balch to the mix gives them this vibe of just a little bit heavy too, but never enough to throw off the delicate balance of what Gary, Bill, and Mario in YM are all about.
Volume 4 is part of the second hour’s long jam sessions the guys did in the desert, with Balch talking about his new pedal that played a prominent role in the two tracks offered here. Bob likes pedals and I like Bob using pedals. Pyramid Of Djoser is the first one, and Bob certainly has all sorts of trippy tricks going on with said pedal and his mastery of the instrument he has been known for. The most amazing thing about Balch is his ability to be awesome in any setting; as the riff maker in Fu Manchu, playing 80s Priest worship in Axe Dragger, or the desert trippy stuff you get here.
Volume 4 is part of the second hour’s long jam sessions the guys did in the desert, with Balch talking about his new pedal that played a prominent role in the two tracks offered here. Bob likes pedals and I like Bob using pedals. Pyramid Of Djoser is the first one, and Bob certainly has all sorts of trippy tricks going on with said pedal and his mastery of the instrument he has been known for. The most amazing thing about Balch is his ability to be awesome in any setting; as the riff maker in Fu Manchu, playing 80s Priest worship in Axe Dragger, or the desert trippy stuff you get here.
The chemistry is obvious between these four amazing musicians, as Water Ritual may be my favourite on any of the volumes thus far. It is so hard to put a 22 minute jam into words, but if you want to take or not take your substance of choice and just chill, Yawning Balch got you. Bob never goes too far, sometimes you feel he may or maybe even you want him to, but he always keeps it right down in the good part of the trip.
Yawning Balch. As a fan it is fun just to write the name. It is even better experiencing all the goodness this collaboration brings. Bring on the next volumes, we are here for it for sure. 8/10
Stormkeep – The Nocturnes Of Iswylm (Vesperian) [Mark Young]
There is something about atmos black metal that when done right can’t be touched.
The Taste Of Immortal Blood has that lofty opening touch, allowing the swells and Eddie’s before they drop the hammer.
Fast drums, riffoloa
Then cleans that I actually liked in this context, they attempted to support or underpin the music in front of it. However, they remember that this is heavy metal and that having the atmosphere is nice but what really is key is guitars, drums and bass. It’s suitably energetic, punching forward when it needs to, and allows the use of keys to come in to act as a natural break. The outer lead break, as quick as it is has the song in mind by actively not overshadowing it.
Yawning Balch. As a fan it is fun just to write the name. It is even better experiencing all the goodness this collaboration brings. Bring on the next volumes, we are here for it for sure. 8/10
Stormkeep – The Nocturnes Of Iswylm (Vesperian) [Mark Young]
There is something about atmos black metal that when done right can’t be touched.
The Taste Of Immortal Blood has that lofty opening touch, allowing the swells and Eddie’s before they drop the hammer.
Fast drums, riffoloa
Then cleans that I actually liked in this context, they attempted to support or underpin the music in front of it. However, they remember that this is heavy metal and that having the atmosphere is nice but what really is key is guitars, drums and bass. It’s suitably energetic, punching forward when it needs to, and allows the use of keys to come in to act as a natural break. The outer lead break, as quick as it is has the song in mind by actively not overshadowing it.
It’s a very strong start, one that The Black Dragons Of Iswylm maintains. It’s a tightly wrapped song, the component parts are equally distributed behind a solid riff. Having this one run shorter means there is a race to get as many parts played as possible; piano here, atmos break there. T3 continues that run, a classic BM start that sees galloping guitars and machine gun double bass. By now it’s settled into a pattern that shows a consistent approach to their craft. Its full of melodic lines (the early lead break as an example) that are positioned well within its arrangement. Obviously, we are never too far from a moment where they remind us they are about the atmosphere.
Imperious Sanguine Erotiscm gradually eases into play, a slow fade in that sees them deploy the clean singing first then rip into those harsh bm vox and back again. I think it was expected that they would have a relatively slow one which would give them room to breathe and spread out. There’s still opportunity for them to go heavy, and they do whilst maintaining restraint ensuring that it flows as opposed to lurching into new ground.
Imperious Sanguine Erotiscm gradually eases into play, a slow fade in that sees them deploy the clean singing first then rip into those harsh bm vox and back again. I think it was expected that they would have a relatively slow one which would give them room to breathe and spread out. There’s still opportunity for them to go heavy, and they do whilst maintaining restraint ensuring that it flows as opposed to lurching into new ground.
T5 decides its had enough and kicks into high gear once more. There’s a hurry about this one, manifested in how they position lead breaks and changes in velocity to suit. Of the tracks so far I think that it suffers from being padded out slightly. Personally, this could have been reduced in length but given that the overall level of craft that has go e into these songs has stayed constant it really is a minor niggle.
T6 has a cracking riff set to it, relying on speed to SOMETHING HERE. Whilst it has that in its favour, its shares a lot with the tracks preceding and its a good track there is a familiarity dropping into play. Again, its a personal thing, but the closing track, Ballad Of A Fallen Star needs to shake things up. I’m hoping that its not an actual ballad, because the last song has to be the one that stays with you once it wraps. Well, any thoughts that they would avoid expansive song lengths are put to bed straight away.
It’s a 9 minute showcase for the good stuff that they have done, but also one that highlights the need for a ruthless hand. It doesn’t deviate from the path laid out at the start, nor does it throw in something out of character.
Something else. 8/10
Wage War – It Calls Me By Name (Fearless Records) [Matt Bladen]
Floridian band Wage War dwell in hot and humid swamps of Florida and on the opener of their new EP they encompasses the hidden threat of the alligators that lurk just under the water. It’s a song that’s brutal, oppressive and dangerous beginning to this record, Wage War at their most vicious and biting, massive grooves and breakdowns with ferocious vocals it’s Wage War going down their heaviest route to date.
This renewed danger and aggression continws into 4×4, more screams low end booms but still massive chorus hooks. Wage War state their influenced by Florida itself and the aggressive power of nature, this has made sure that this EP is muscular and loud.
Wage War – It Calls Me By Name (Fearless Records) [Matt Bladen]
Floridian band Wage War dwell in hot and humid swamps of Florida and on the opener of their new EP they encompasses the hidden threat of the alligators that lurk just under the water. It’s a song that’s brutal, oppressive and dangerous beginning to this record, Wage War at their most vicious and biting, massive grooves and breakdowns with ferocious vocals it’s Wage War going down their heaviest route to date.
This renewed danger and aggression continws into 4×4, more screams low end booms but still massive chorus hooks. Wage War state their influenced by Florida itself and the aggressive power of nature, this has made sure that this EP is muscular and loud.
The five piece of drummer Stephen Kluesener, bassist Chris Gaylord, guitarists Seth Blake and Cody Quistand as well as vocalist Briton Bond all give incendiary performances especially Bond on closer Purify as the duality in the vocals on Blindfolded and Karma are more what you may expect from Wage War.
Inspired by the harshness of their home, Wage War, step up the ferocity on It Calls Me By My Name. 7/10
Inspired by the harshness of their home, Wage War, step up the ferocity on It Calls Me By My Name. 7/10
Joseph Tholl – It Might Be Art (High Roller Records) [Cherie Curtis]
Multi-instrumentalist Joseph Tholl brings us his second solo album, It Might Be Art and its hearty, melodic and sincere. It doesn’t rely on sickening breakdowns to be noticed and appreciated. Joseph Tholl has a respectable vocal range swinging from balmy to unfaltering passion with a dark bitter edge complimented by contrasting tension building backing vocals which brings a satisfyingly rich texture and dynamic.
It Might Be Art is something everyone can enjoy, though it’s not metal; it’s a piece of well-crafted, hard-hitting rock. It’s not distracting or pretentiously overcomplicated in any way, but what’s great about this album is that each track is unique from each other in style slightly so if you’re not a fan of one, you’re bound to enjoy the next.
Multi-instrumentalist Joseph Tholl brings us his second solo album, It Might Be Art and its hearty, melodic and sincere. It doesn’t rely on sickening breakdowns to be noticed and appreciated. Joseph Tholl has a respectable vocal range swinging from balmy to unfaltering passion with a dark bitter edge complimented by contrasting tension building backing vocals which brings a satisfyingly rich texture and dynamic.
It Might Be Art is something everyone can enjoy, though it’s not metal; it’s a piece of well-crafted, hard-hitting rock. It’s not distracting or pretentiously overcomplicated in any way, but what’s great about this album is that each track is unique from each other in style slightly so if you’re not a fan of one, you’re bound to enjoy the next.
For example; The Burial is a personal favourite, it’s fun and quick with sharp riffs with creative solos and a catchy chorus that’s darker and more atmospheric with more of a specific narrative than the others and I’m In A darkness is measured, powerful and laced with romanticism and reverb that makes it more of a ballad which is an excellent change of pace.
As a whole, It Might Be Art is clear cut and undemanding and very well made. It will be a great addition to your everyday playlist when you want a pallet cleanser. It can come across on the first listen as safe and ordinary but as the album unfolds and you hear what’s being offered, you do get to appreciate the sheer effort being made, the level of thoughtfulness and years of experience that shines through.
As a whole, It Might Be Art is clear cut and undemanding and very well made. It will be a great addition to your everyday playlist when you want a pallet cleanser. It can come across on the first listen as safe and ordinary but as the album unfolds and you hear what’s being offered, you do get to appreciate the sheer effort being made, the level of thoughtfulness and years of experience that shines through.
The album is different to what Joseph Tholl has worked on within bands past and present, so the energy, passion and creativity is obvious, and it’s always makes a huge difference when someone creates out of love, fun and curiosity over comfort and expectation. 6/10
If there’s one thing better than going to a metal festival, it’s chatting with the bands backstage before, during, or after their set. Backstage is where the magic happens, and it’s also where bands can be at their most vulnerable – and exciting… HEAVY has just finished doing the rounds at Dead Of Winter Festival […]
Following the release of their debut record Upon the Edge of Darkness in 2023, South Australia’s Lumen Ad Mortem returns with A Grave Ascent – a striking dose of ferocious black metal that balances perfectly between an energetic drive fueled by lightning-fast tremolo riffs and a mid-paced dirge drenched in atmosphere. Crafting anthemic black metal […]
Words by Ali Williams Pix by Sarah Gilpin Photography After a 7-year hiatus, Dead Of Winter finally returned to Brisneyland, and in true metal style it didn’t knock and respectfully ask if the neighbours were home; it kicked the motherfucking door in of the Mansfield Tavern and reminded everyone the heavy scene was never dead. […]