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  • Ghost Moon Echo Black is the new Black Review

    Ghost Moon Echo Black is the new Black Review

    The song immerses listeners in a captivating rhythm, driven by a sinuous guitar riff. This engaging introduction transports one into a somewhat mysterious and intense world. The vocals enter solidly, with a delivery that evokes memories of Mick Jagger’s unique charisma. The song’s arrangement leans towards the refined with a nocturnal atmosphere stemming from its vibes.

    Ghost Moon Echo Black is the new Black

    The dynamic guitar strumming creates chords that expand the auditory space. The rhythm possesses a hypnotic quality, effectively guiding listeners away from dreamlike thoughts. Ghost Moon Echo draws upon the rich musical backgrounds of its members, including those from the band of the esteemed German cultural icon Nina Hagen.

    Written and produced by singer and guitarist Warner Poland, the single showcases his distinct flair. Marcellus Puhlemann anchors the rhythmic foundation, complemented by Steven Ney on bass and Moritz von Herder on guitar. Their synergy reflects a deep understanding gained through years of artistic experience.

    Black is the new Black – Sound and Atmosphere

    This song emanates a vintage intensity that engages and entertains. The careful selection of sounds contributes to a dark yet fascinating ambiance. There’s an essence that invokes the feeling of wandering through the fog-laden streets of Berlin at night. The arrangement is rich with layers, each one intricately crafted to maintain interest throughout.

    Listeners will appreciate how the song elegantly melds classic rock influences with modern sensibilities. The guitar work stands out, showcasing melodic beauty and rhythmic momentum. Each note evokes the charm and grit characteristic of urban nightlife. The musicians exhibit a clear command of their craft.

    The song transports listeners into a vivid scene. One can envision the dimly lit streets and smoky clubs, filled with enthusiasm and energy.

    Black is the new Black – Performance and Production

    The intertwining of guitar and drums creates a dynamic interaction that feels organic. The bass line supports this lively infusion, driving forward with remarkable clarity.

    Wordplay and lyrical expression also contribute to the overall effect. The content reflects a sophistication that resonates well with an audience accustomed to quality music. There is an invitation for reflection and engagement, encouraging listeners to connect with the deeper meanings woven throughout.

    The atmosphere remains consistent. As the song reaches its climax, the intensity amplifies, and the musicians showcase their collective talents.

    With its alluring synthesis of the vintage and the progressive, this single positions Ghost Moon Echo as an interesting entry in the contemporary music scene. The final product speaks of their dedication to musicianship and artistic integrity.

    Black is the new Black rises above the typical standards with its unique identity. Through their music, the band establishes a personal connection with audiences, fostering a community united by shared experiences.

    Listeners are provided with an engaging piece that stands strong against industry norms. The craftsmanship found in their work truly shines here. The meticulous attention to detail sets a high bar for the craft.

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    The post Ghost Moon Echo Black is the new Black Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • DS Show Review: Dave Hause and The Mermaid with Apes Of The State and RooFTops, Sinclair – Cambridge MA

    While Dave Hause has certainly not been a stranger to playing shows in and around the Boston area for the last several decades, it had been a while since he and his revved-up band The Mermaid had played a big revved-up rock-and-roll show in the greater Boston area. Four-plus years, in fact, since the Mermaid had played alongside Joe Gittleman’s Avoid One Thing at Sinclair in Cambridge. Sure, there were a couple years of Sing Us Home festival warm-ups at Faces in Malden, but the makeshift stage at the rear of a brewery in a repurposed bank is wonderful but a different feel than the Sinclair, a well-lit, tremendous-sounding yet unassuming industrial/subway style authentic rock and roll club. It’s big enough that a band has a chance to stretch their collective wings and really soar (see past coverage of barn-burning shows from Weakened Friends and The Hold Steady, for example) but intimate enough to allow for the symbiotic energy between artist and audience to transcend into something truly magical. And that’s exactly what happened last Saturday night when Dave Hause and the Mermaid made their triumphant return to the Harvard Square spot.

    When we chatted with Hause about his latest record last year, he made frequent mention of the realization that the Mermaid, as currently assembled, was the best band that he’s ever been in, and that there was a desire to capitalize on how tight the band was and how fired up he was to be out in front. I can say emphatically that the Dave Hause and The Mermaid set last Saturday night at Sinclair was the best and most cathartic live musical set I’ve seen in that – or any – room in quite a long time. Years, really. Yes, I am fully aware of the hyperbolic nature of that statement, but to quote the great Brian Fallon during stage banter about pizza or dogs or Jersey (I forget)…”it’s not a lie if it’s true!” Hause and company – brother and longtime running mate Tim Hause on guitar, Kevin Conroy on drums, Luke Preston on bass, Mark Masefield on keys (and accordion!) and, for this year’s run of Mermaid shows, Matt “Mattsimum Waves” Wilson on guitar to fill out the sound – burst on stage and immediately ripped into “Cellmates” from the most recent record, a charged-up singalong rocker about spending time in the trenches with your comrades, as and making it out the other side. The song is a perfect encapsulation the crowd at-large, the rankers and rotters who’ve been along with Hause for the fifteen years of his solo career or the two-plus decades since The Loved Ones burst on the scene, a sort of post-script to the early-thirties eye-opening crises of Devour.

    Speaking of which, while the Dave Hause…And The Mermaid record was the focal point for this show, the set did contain tracks from each of Hause’s seven full-length solo records. “Autism Vaccine Blues,” a personal favorite track from a desert island record for yours truly, was second in the set, a song that’s as cathartic with a full, six-piece band as it was the first time I heard Hause perform it solo, on Flogging Molly’s Green 17 tour in 2013. I know that I’ve used the word ‘cathartic’ a few times already and that’s probably poor form, but the reality is that’s the overwhelming feeling I had for the duration of the sixteen-song main set and two-song encore. The sort of poignant emotional release that comes with gathering with a few hundred friends and kindred spirits and hollering together about past loves and past lives and the cold realities that the world we’ve inherited is a far cry from the one we were sold. Even the less traditionally charged up rock songs, like “Rumspringa” from the Mermaid record or “Surfboard” from Blood Harmony took on arm-in-arm singalong vibes. (The former, for what it’s worth, featured an accordion-clad Masefield stage diving, while the latter featured an appearance on steel drum by Rhode Island’s Aaron Abramson Cote.) By the time main-set closers “Look Alive” and encores “With You” and “We Could Be Kings” rolled around, the lines between band and crowd had long-since been blurred in favor of one big, sweaty, celebratory mass.

    Apes Of The State provided direct support on this little run in the Northeast after an appearance earlier in the month at the Hause brothers’ Sing Us Home festival. Appearing as a four-piece on this run sans guitarist/mandolinist Dan Ebersole, the Lancaster-PA folk punks – April Hartman on guitar and vocals, Mollie Swartz on violin and kazoo yes really, Ian Cornele on drums and Moth Rogers on bass – were met with a rousing singalong chorus of their own from the crowd, particularly on tracks like “They Can’t Kill Us All” and “Sober Intentions” and had won over the bulk of those who weren’t previously familiar by the time “What Am I Doing With My Life?” rolled around.

    The local opener spot was occupied by RooFTops on this occasion. With roots that extend deep into the Boston punk and hardcore communities for many years, RooFTops has been doing the solo acoustic thing for a decade-and-a-half now. But this isn’t your parents’ acoustic folk balladeer; RooFTops is throat-shredding, anti-war, working-class punk rock to the bone (with a fun Descendents cover for added measure)!

    Check out more photos from the evening’s festivities below!

  • Last Crow Whales Review

    Last Crow Whales Review

    The sound of Last Crow’s single “Whales” greets listeners with a raw, intense edge. The guitar tone is dystopian and hypnotic, creating a deep impact. Background sounds resemble distant wolf howls, setting an eerie atmosphere. As the band joins in, the ambiance transforms into something epic. The inclusion of keyboards adds a vintage flair to the overall sound.

    Last Crow Whales

    However, the song experiences a sudden shift as it transitions into the verse. This section showcases an almost meditative quality, revealing the band’s remarkable ability to manage dynamics. The atmosphere becomes sparse, drawing the listener deeply into the musical experience.

    When the chorus arrives, the track reinvigorates itself with intensity. The melodies exhibit a psychedelic quality that transports listeners to another realm. The song feels like an intense journey, reflecting the visionary compositional style of the 1970s. This is successfully blended with modern influences, creating a distinctive and vibrant sound.

    Whales – Sound and Atmosphere

    Last Crow has crafted something unique here. Their music does not conform to trends; instead, it follows instinct. The sound possesses an elemental and primal quality, making it timeless and relevant. Overall, “Whales” is an impressive showcase of original artistry that deserves recognition.

    Fans of innovative music should immerse themselves in this single. The way the band navigates through varying intensities is truly impressive. They have managed to create a song that not only entertains but also resonates on a deeper level. The essence of nostalgia surfaces as listeners are taken on this thrilling auditory adventure.

    What stands out is the seamless fusion of past and present influences. Echoes of classic rock from yesteryears blend with contemporary sounds. Last Crow proves that they are not afraid to explore uncharted territories in their music. Their freedom from conventional expectations is both refreshing and inspiring.

    Whales – Performance and Production

    The intensity shifts in a way that keeps one engaged throughout. The layers of musicality reveal themselves more with each listen, creating a rich listening experience.

    The band showcases a high level of craftsmanship in their songwriting. The chemistry within the band is palpable and adds to the overall quality of the music.

    “Whales” encapsulates an experimental spirit that feels genuine. It thrives on authenticity and pushes musical boundaries. This level of creativity is rare and deserves acknowledgment in today’s music landscape.

    Those who appreciate daring compositions will find much to enjoy. The song pushes listeners to think beyond typical song structures. It celebrates artistic freedom and individual expression.

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    The post Last Crow Whales Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Hecate Enthroned – The Corpse of a Titan, a Lament Long Buried (Review)

    Hecate Enthroned are a black metal band from the UK and this is their seventh album. Featuring members of Ba’al and Sidious in their ranks, legendary black metal act Hecate Enthroned return for the first time in seven years. What dark delights does The Corpse of a Titan, a Lament Long Buried bring to us? … Continue reading “Hecate Enthroned – The Corpse of a Titan, a Lament Long Buried (Review)”

  • Ho Jo Fro When Did You Knock? Review

    Ho Jo Fro, When Did You Knock? Review

    The song opens with a compelling cello motif. This introduction showcases a refined compositional style. It blends vintage and modern elements effortlessly. The soft rock genre resonates between the past and present uniquely. The craftsmanship behind the music is impressive. The sound feels authentic and purposeful. Ethnic instruments contribute to the percussion, enhancing the song’s earthy feel. This choice adds a layer of intimacy, especially since the song reflects on a brother-sister relationship.

    When Did You Knock? Ho Jo Fro Single

    This delicate and sweet track evokes deep emotions. The narrative centers around a lost connection, emphasizing the impact of loss. This theme resonates profoundly with listeners who have experienced similar grief. Having lost my sister, I find solace in the lyrics. The song serves as a heartfelt reminder of a special bond that transcends time.

    There is an inherent tenderness and intensity present in this piece. Instead of despair, the song encourages reflection on cherished memories. One such memory highlighted is when the narrator asked his sister to be the best man at his wedding. This gesture illustrates a break from tradition, making it even more memorable.

    When Did You Knock? – Sound and Atmosphere

    As these memories drift away, they become universal experiences. The heartfelt lyrics pulse with love only felt among close family ties. This emotional resonance creates a strong connection with the audience. The simplicity and sincerity elevate this composition into something more profound.

    Musically, the collaboration shines through. Paul Derringer is the main architect of this musical project, and guitarist and engineer Tim Ryan complements the sound. Their efforts establish a rich foundation for the song. The celebrated cellist Brianna Tam brings an additional layer of depth. She adds a unique flavor that enhances the overall experience. Kleidi Buroz rounds out the sparse instrumentation, ensuring that every note has significance.

    The dynamic between these musicians creates a perfect balance. The understated arrangement allows the emotional core of the song to surface. Listeners can fully immerse themselves in the narrative being presented.

    When Did You Knock? – Performance and Production

    The production quality is notably polished. Each element contributes to an engaging listening experience. The use of traditional instruments alongside contemporary sounds creates an interesting dynamic. This duality reflects the song’s thematic exploration of tradition versus modernity.

    Listeners will appreciate how the piece evolves throughout its duration. It builds gradually, allowing emotions to swell. Drifting between memories and present feelings, the song captures a life lived in reflection. The thoughtful arrangement makes this track easy to listen to repeatedly.

    When experiencing this song, one might feel as if they are transported. It creates a vivid picture of nostalgia, happiness, and heartbreak. Broadly appealing, the song successfully blends soft rock with heartfelt storytelling. It stands as a touching tribute to those we have lost.

    Exquisite craftsmanship meets relatable themes in Ho Jo Fro’s latest work. It is a rare gem that deserves to be celebrated.

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    The post Ho Jo Fro When Did You Knock? Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Bart and the Brats – Pushin’ Your Luck


    A good, old-fashioned best-of compilation album is something you rarely see in the indie music world. But that’s exactly what we have here from Bart and the Brats, France’s #1 ’77-style garage punk (one-man) band. Out on London’s Dirty Water Records, the new LP Pushin’ Your Luck features 15 selections from Bart’s existing discography (consisting of four-and-a-half albums and six EPs) and one previously unreleased track called “Pissin’ in the Wind.” Putting out this album was either a terrible idea or a stroke of genius. A good chunk of these songs have never been available on an LP. And if you’ve been aware of Bart and the Brats but have never pulled the trigger on buying a record, Pushin’ Your Luck is a fine sampling of the band’s body of work. It includes a whole slew of fan favorites such as “Can’t Stand the Beatles,” “Masochistic Pigs,” “Constant Nonsense,” “Good Cop, Bad Cop,” and “Sick, Sick, Sick.” 

    Recorded by Lo’Spider at Swampland, Toulouse and remastered for this release, these 16 tracks blast out raw, primitive three-chord punk that thumps you in the head with one hand and gives you the finger with the other. The joke about Bart and the Brats might be something along the lines of “If you’ve heard one of their records, you’ve heard them all.” But that’s a good thing, right? We don’t want things like progress, artistic ambition, or proper musicianship ruining this band. Just look at some of the labels that have jumped on the Bart train: No Front Teeth, Sweet Time, Big Neck, Take the City….man, that’s the best of the best in the punk rock world! This band embodies just about everything that makes punk music so great. I don’t want to tell you to not buy all Bart’s stuff. But since we’re living in times of economic distress, you might need to be stingy with your cash. On that note, Pushin’ Your Luck is a lot of value for the money and an excellent representation of a truly killer band.

  • High On Stress – Still Here


    Back with its first full-length album since 2020, long-running Minneapolis alt-rock outfit High On Stress delivers an absolute winner on the 12-song Still Here. This is the band’s first album on Rum Bar Records, and it slots perfectly between Tom Baker and Mono In Stereo on the label’s roster. What we’ve got here is good, solid Midwestern heart-on-sleeve rock ‘n roll branching from the Replacements/Bash & Pop family tree. The album successfully combines a singer/songwriter’s soul with the no-nonsense punch of a heartland bar band. Nick Leet knows how to craft a song with a killer hook that will also move you on a deeper level. I hear these songs and imagine myself sitting in some dimly-lit dive while I drink a pint of cheap beer and ponder my personal wins and losses and the general sadness of the human condition. 

    I always have a soft spot for this sort of rootsy, power pop–tinged honest everyman rock, and High On Stress pulls it off as well as any band on the scene these days. The songwriting, musicianship, and production all hit the mark. The fantastic single “Over/Thru” (which Leet co-wrote with Kevin Salem) reappears here, but it’s certainly not the only standout. Opening cut “House of Cards” is a knockout mid-tempo rocker that brings to mind the heyday of American alternative rock. “Plans Have Plans” is such a relatable gem of a song that it sounds instantly familiar, as if you’ve known it all your life. The title track is nothing short of an anthem — a proper album closer if I ever heard one. For a band to be sounding this good after more than two decades in the game is a pretty remarkable thing. It’s not every day that you come across music with this much soul. Pop open a cold one and get High on Stress.

  • MK Ultras – self-titled


    Alright! Here we go! When it comes to straight-up killer punk rock that rips hard and fast, MK Ultras are one of the best new bands representing for the old school. Goodbye Boozy Records has just unleashed the Cleveland-based foursome’s third release, a 4-song 7″ that will smash anything that dares to get in its way. This, my friends, is quintessential Rust Belt punk rock. It’s not quite ’77 punk and not quite hardcore punk but rather something perfectly in between. These are tough, hard hitting tunes that kick you straight in the ass yet will still get your toes tapping. The Clevo-punk in this band’s musical DNA is undeniable, but they aren’t ripping anyone off. They’re doing their own thing, and it’s real deal punk rock like you rarely hear these days. Great freaking stuff from dead end America!

  • Blindead 23 – Deuterium Review

    Blindead’s third album Affliction XXIX II MXMVI is one of the most underrated classics of the 2010s. The Polish band’s sound was bigger than its fanbase, tragically, but that didn’t stop them from releasing an ambitious concept album whose stars aligned in both sound and lyrical themes. Rooted in the enigmatic and mammoth style of post-metal, the grey world it painted with broad sludge brushstrokes portrayed the experiences and perceptions of a child with ASD: “The shape of a city stood in the grayness, like a charcoal drawing sketched across the waste” (“Dark and Gray”). Alongside titles like Amia Venera Landscape’s The Long Procession and Dirge’s Elysian Magnetic Fields, Blindead was included on a long list of post-metal deep cuts that lay below the decade’s surface.

    In spite of the laziest band name, Blindead 23 is the reincarnation of the act, this time armed with a star-studded lineup. The core of long-time guitarist Mateusz Śmierzchalski (aka Havoc, former Behemoth guitarist from 2000-03) and vocalist Patryk Zwoliński, Blindead 23 is rounded out by drummer Pawel “Pavulon” Jaroszewicz (known for his time in Vltimas, Vader, and Decapitated) and guitarist Roger Öjersson (known for his time in Katatonia). After the relative fizzle of Blindead’s final post-metal/alt rock albums Absence and Ascension, and the outta left field punk swansong Niewiosna, Blindead 23 returns to its roots with a tried-and-true blend of post-metal hugeness and hardcore intensity, sounding right at home with the likes of Rosetta, Neurosis, and Mouth of the Architect. First LP Deuterium is a love song to post-metal, a welcome return that won’t turn too many heads – but it’s the riffiest and the dirgiest post-metal that is both overlong and extremely promising.

    Blessedly, the Blindead 23’s riffs are truly a force of nature, amplified by Öjersson’s soulful trademark melodies. The opening “Immersion” suite offers you a front-and-center attack that showcases the intensity and range – chuggy riffs and ominous melodies collide in formidable intensity. The more intense portions take on a nearly mechanical, death metal-bordering heaviness thanks to choppy staccato chugs and cold atmospheric tricks (“Immersion II,” title track), while solos and cleans inject the necessary humanity to keep them from wallowing in industrial aloofness (“Immersion I” and “II,” “Wither,” title track). Other tracks happen upon a more hardcore-inspired approach, chaotic movements, and shifty rhythms recalling the likes of Black Sheep Wall and Knut (“Worst Laid Plans”), Jaroszewicz’s drums laying a foundation of shifting sands.

    The fifty-four-minute runtime is both a blessing and a curse for Blindead 23: while it allows them the breath to explore all their facets, it drags on the slower moments to a snail’s crawl. While the more hypnotic and dirgelike pieces can be bolstered by an eerie atmosphere (“Immersion II”), they have the potential to drag on for way too long and rob the band of the intensity they have effectively established (“Wither”), and even good tracks can feel a few minutes too long (“Worst Laid Plans”). While range is the name of the game, a few tricks feel too out-of-left-field, such as the bluesy and twangy plucking or jazzy melodies (“Toward the Dark”) or a surprising optimism that clashes with the overall darkness of the debut (“You Are the Universe”). However, this is not Blindead – it’s Blindead 23 – and it’s better that a band explore all avenues instead of just playing it safe.

    Deuterium is the sound of a band hungry for the return, but not to the way things were. Already, a revolving door of contributors make Deuterium a distinct sound compared to 2024 debut EP Vanishing, and it shows in a solid output that sounds like the veterans they are. While the inconsistency is jarring and the sprawl leads to the excessive runtime, individual star power with an immensity greater than the sum of its parts graces the Polish juggernaut in an exploration of all avenues. An embarrassment of riches awaits them. Deuterium may not be their magnum opus, but it’s the prelude for Blindead 23.

    Rating: 3.0/5.0
    DR: 6 | Format Reviewed: 320 kb/s mp3
    Label: Peaceville Records
    Website: facebook.com/blindead23
    Releases Worldwide: April 22nd, 2026

    The post Blindead 23 – Deuterium Review appeared first on Angry Metal Guy.

  • Jack Osbourne Fires Back Against ‘Digital Ozzy’ Backlash

    "It's gonna be so tasteful what we're doing," Jack Osbourne said about his family's polarizing plans for "Digital Ozzy." Continue reading…