Author: Simon Hadley

Parish: God’s Right Hand [EP]

EP Reviews

Less than thirty seconds into the opening salvo of ‘Apothecary’, the words ‘Black’ and ‘Sabbath’ enter your head. This isn’t a criticism of the London three-piece. If anything, it’s a compliment.

God’s Right Hand is Parish’s first official release and, in all honesty, it’s the most authentic interpretation of ’70s proto-metal that you are likely to hear for quite some time. ‘In the Shadow of the Hill’ contains a gorgeous riff which stuns in warmth and tone in equal measure (Tony, is that you?). Vocally, there are striking similarities to Witchfinder General’s vastly underrated Zeeb Parkes.

In an excerpt from their online biography, the band describes the songs as taking the listener “from a town wracked by [the] plague to the muddy fields of Civil War-era Warwickshire.” Ironic, perhaps, considering the aforementioned ‘General started life down the road in the heart of the Black Country, while Sabbath’s Aston roots are the final, and, arguably, the most critical axis of this Midlands metal triangle.

Fire in the Field: Resurrect [Self-Released]

Album Reviews

Fire in the Field might not be a household name, but they soon will be. The Boston natives have been thrilling audiences in pubs and clubs, as well as Austin’s prestigious South by Southwest festival (SXSW) for over a decade. 

With every album released, Fire in the Field aren’t given the spotlight that they deserve. Their fifth studio album, Resurrect, acts as a double meaning: It’s a reawakening for a band that, arguably, didn’t need it in the first place. ‘Shadow Way,’ a radio-ready banger, comes out swinging thanks to a cacophony of electric rhythms. ‘Egyptian Jukebox’ follows a similar trajectory and allows vocalist Mike Moore to release his inner Anthony Kiedis.

Speaking of Moore, he sounds impeccable; he has the kind of vocal control and presence to command arenas, and the licks to make an audience swoon. The tight relationship between bassist Jeff Badolato and drummer Brad Conant allows Moore to flourish. None more so, than during the soulful excursion of ‘Scandalous Lightning’. Fire in the Field is an impressive, all-encompassing trio, and an early contender for breakout act of 2021.

Samsara Joyride: Samsara Joyride [EP]

EP Reviews

“Chased by the street/ try not to breathe,” croons Florian Miehe during the opening moments of ‘16th District Blues’. It’s a heavy lyric that juxtaposes the light-fingered acoustic musings with a man in turmoil.

Recorded in the living room of Michael Haumer’s Vienna home with only a single microphone, it’s organic feel evokes romantic visions of a midwestern bar-band: It’s personal and real. And just like the characters that often frequent such a bar, the duo isn’t afraid to lay their cards on the table, either: the sprint of Peter Green echoes throughout, as do the ghosts of the Delta blues.

Arguably, the defining moment is the stirring ‘Safe & Sound’. Joined by Laura Fichtenkamm on backing vocals, Miehe documents his daily struggles to the sound of brooding guitar licks. Honesty and integrity are at the heart of this record, which makes it is such a joy.

Thunder Creek: Dark Water Rising [EP]

EP Reviews

Remember when life was far less complicated? No Social Media? No woke culture? Well, so do Thunder Creek. Dark Water Rising is a sunny homage to the crackly world of classic rock. Hell, the band even chose to release their debut on limited edition vinyl – 30 hand-numbered copies to be precise, all of which have now sold out.

On this evidence, it’s clear to see why the New York duo are in demand: proto-meets-retro, blues-meets-psych, country-meets-Americana (I could go on, but you get the idea). ‘Sweet Trucker’ belongs to some other time and place (“Goodnight, sweet trucker/ Tomorrow we’re gonna make it home”). ‘Lemon Tree Blues’ follows the same lyric sheet (“I keep losing my way/ I can’t get her off my mind”) complimented by piercing acid-guitar bursts. Nostalgia has never sounded so good.

Gypsybyrd: Eye of the Sun [Self-Released]

Album Reviews

Jake Lewis brings a wealth of experience and influences from other bands (Burn Ritual, King Earth) into this solo project. From heavy-psych to hard rock, and all things in between, Eye of the Sun is a deep dive into the cosmic artefacts of yesteryear.

‘Gotta Get Away’ recalls Sabotage-era Sabbath before leading into ‘The Quest for the Enlightened One’ – a psychedelia-heavy outing that swirls around ‘Planet Caravan’. It’s hard to be so plugged-in to a vintage vibe without the music inevitably feeling time-capsuled. However, Lewis’ treasure trove of ideas helps these songs sound very much alive. In a time of great uncertainty, who can blame anyone wanting to tune-in, drop-out, and inhabit a bubble of comforting nostalgia.

Pink Cigs: Pink Cigs [Self-Released]

Album Reviews

Pink Cigs is one of the most authentic bands to emerge from these shores for quite some time. The no-nonsense Sheffield quartet’s debut full-length is a turbo-charged juggernaut of blues-rock swagger and high-octave punk. It’s loud, brash and the sound of sweaty blokes trucking the length and breadth of the country in a battered old Transit (well, when we could still leave the house). Playing this record loud will leave you, and your neighbours, feeling woozy.

Red Tape Redemption: Driving South [EP]

EP Reviews

Swiss blues-rock outfit, Red Tape Redemption have plenty of fuel behind them for a two-man band, and there are sufficient clues to their influences. ‘Hot Stuff’ sees guitarist Lukas Oberholzer meander through Hendrix-inspired licks, ‘Carnival’ recalls the Doors before kicking into a 70s-inspired boogie, and there are even desert rock flourishes from the Josh Homme rule book, all bound together with gusto.

Slomosa: Slomosa [Apollon Records]

Album Reviews

On this blistering debut, the Bergen four-piece create a new subgenre in the world of Scandinavian hard rock: ‘Tundra rock’. A tongue-in-cheek reference in honour of Norway’s lack of deserts, due to their devotion to Californian desert rock.

It begins early on with the frantic, soil-pounding fury of ‘Kevin,’ a blistering assault that proudly shows off their hero-worship. ‘There is Nothing New Under the Sun’ could entice ridicule, due to the obvious comparisons with their Palm Desert predecessors. Instead, it is the first example of Slomosa making this sound their own.

This continues with ‘In My Mind’s Desert,’ a near five-minute gem that layers guitar accents over a fuzzy groove. It’s a welcome change of pace that showcases the band’s songwriting potential.

At the end of the album, during ‘On and Beyond,’ the band just jams, Severin Sandvik’s drums crashing in from higher plains, Benjamin Berdous’s vocals reduced to a momentary afterthought, before taking the reigns once more. Another Kyuss-like moment? Yes. Is this an issue? No, not really. Yes, Slomosa’s brand of ‘tundra rock’ borrows heavily from warmer climates, but this scorching collection is damn-near impossible to dislike.

Formula 400: Heathens [Glory or Death]

Album Reviews

A SoCal four-piece in the classic style, Formula 400 sound lean and mean on their short, sharp debut. Despite being only a mere seven tracks, what Heathens lack in numbers, it more than makes up for in quality – groovy, pulsing sonic hot rods like ‘Ridin’ Easy’ and ‘Light My Way’ are standouts.

Elsewhere, ‘Sun Destroyer’ intertwines dual-guitar harmonies into their fuzzed-out workouts, and ‘The Long Road Home’, built on languorous guitar lines, is an appropriate cosmic closer that drifts off suitably into a lysergic sunset of the soul. It’s simple, yet so effective.

Golden Feather: Light on Water [EP]

EP Reviews

The Hamilton, Ontario collective roll out sun-beaten jams on their debut release. Golden Feather is filled with joie de vivre and positive vibes, as they pinball from the Allman Brothers-esque ‘Mountain Man’, to the lights-down-low groove of ‘Devil’s Eyes’ and then onto the Southern charm of ‘Tennessee Jed’. Listening to Light on Water is akin to stumbling across your favourite classic rock station on a long journey.

The Zoology: Escapism [Self-Released]

Album Reviews

Escapism is something that the world has been seeking in their droves this year, so it seems rather apt that this release should arrive in the closing stages of 2020.

The Sydney collective’s sophomore effort is a melting pot of ideas: The upbeat funk cosplay of ‘Fool’ shimmies between Talking Heads basslines and Stones-inspired rock ‘n’ roll in equal measure. In contrast, ‘Escape’ is an all-or-nothing blast of power chords and rolling drum fills. Despite the bravado, there are also moments of solace and vulnerability: ‘Yarns’ is a diary entry of relationship woes wrapped in a swirling Britpop haze that yearns for better days.

Although Escapism is unlikely to make any ‘Best of’ lists, this is a charming jumble of well-crafted songs and youthful exuberance that lives up to its promise.

Interview: Chocolate Love Factory

Interviews

Chocolate Love Factory are a playful bunch. You’d have to be to proceed with such a moniker. Since their 2010 demo, Biscuit Music, to their debut single ‘Rat Bag/Texty Texty’, the Northern Irish trio of Rory Dee (vocals and guitar), Pearse McClelland (bass) and drummer John Quinn have been blurring the boundaries between grunge and stoner: explosive, blistering grooves that rumble with angst and melodic sensibilities.

Let’s start with the obvious: Chocolate Love Factory. Where did the name come from?

Rory Dee: It’s a truly legendary story. We’d got our first gig, and I’d been struggling with a name. I was thinking of going for something like one of Nirvana’s early pisstake names; just until we had more time to think about it. I had ‘Coughing Coffin’ and a few others that were pretty awful.

Then the promoter emailed again, saying she needed all our details, as she had to get a write up in the local paper. My girlfriend was sitting there, and I asked her what she thought we should call the band and, swear to god, ‘Chocolate Love Factory’ were the first three words that came out of her mouth. We both laughed for a wee bit, and then I was like: “Yes”’. And so, the stupidest name in rock history was born (thanks, love!).

Were you surprised by the initial online positive feedback?

RD: Yeah it was class, we didn’t know what to expect. We thought they were good songs, and well recorded, but we were just doing what we wanted to do: not sparing a thought for what our audience would be. There were a few cool reviews of it and stuff, and then we were listed in Live4Ever’s ‘Best of 2011’ list halfway through the year. It was encouraging to see things like that.

But aye, releasing that in one of the big-ish venues over here, the Spring & Airbrake, was pretty awesome too. A truly memorable night, with all the bands we’d played with and loved during that previous year on the bill, and a load of people came out. It was cool to see all the hard work that went into promoting it paying off. Even looking back at some of the videos from that night, the crowd reaction was awesome.

Having followed your output since then, Octavia embraces grunge aesthetes. Has it been a conscious decision to move away from your desert rock roots?

RD: No, not at all. We like to move forward in the most natural way possible; through jamming and not really thinking about stuff too much. Wherever our guitars want to take us – we’re just the mediums. I want it to be a true expression. Also, the addition of Pearse [McClelland] on bass has definitely brought a lot more energy to proceedings. He’s a wee punk at heart. The new EP isn’t gonna be filled full of ‘Motivator’s’ – it’s really varied – although, yes, I think the desert rock sound has definitely taken a back seat on this one.

Pearse McClelland: It was a conscious decision to spend more time and care when writing ‘Motivator’ and other songs. It’s different from anything we’ve done before, but it’s fun to try something different. Maybe the next EP we do will be freestyle jazz!

RD: John [Quinn] would go mad for that shit like!

RD: Personally, I become enamoured with things for years. First, it was Nirvana and the whole grunge thing. I have a huge catalogue of rip-off Nirvana songs I used to write for ages. Then I started this band while I was obsessed with Queens of the Stone Age; trying to be them for a few years. It feels like another new phase coming on right now, but it’s not clear what it’s inspired by just yet. A microcosm of a load of new stuff I’ve discovered over the past while. Our own sound, maybe? You’ll have to decide for yourself!

AU Magazine recently described you as: “one of this small country’s [Northern Ireland’s] best in riff-fuelled rock.” This must fill you with pride.

RD: Oh yes, it’s always cool when you don’t get slagged [off] in reviews! We have a lot of respect for the guys at AU, so to hear them praising us like that is pretty sweet.

PM: When there are bands like ‘LaFaro’ and ‘The Rupture Dogs’ around here, who consistently write awesome riffs, then yes, that’s pretty fucking cool!

RD: I know. When there are bands like ‘Lantern for a Gale’ knocking about here, too, it’s a class comment to receive.

I’ve noticed that you played a homecoming show in May at the end of last year. How supportive have friends and family been since the Love Factory opened?

PM: They’ve been great for us to be honest. I don’t think we’d have the same enthusiasm for what we do if it wasn’t for them.