Album Reviews

Blackjack Mountain: Holding Time [Swamp Records]

Album Reviews

It’s a time-honoured tradition for bands from America’s Deep South to declare a love for their roots: From the Allman Brothers to the Zac Brown Band, they’ve all done it.

On first listen, this Georgia three-piece is no different. However, these blink-and-you’ll-miss-it references to the cultural heritage of their homeland are few and far between. This is only a tiny portion of Blackjack Mountain’s DNA.

‘What I Need’ is a sure-fire radio banger that will get more than it’s a fair share of exposure. It’s a winning formula of fuzzed-out riffage, soulful vocals and a pedal-to-the-metal rhythm that will ensure that you arrive at your destination in double-quick time.

Elsewhere, Holding Time is awash with clichés to a backdrop of whiskey-drenched licks, bass kicks and a whole lotta attitude: “You know I like to party, and you know I kick some ass!” exclaims vocalist and guitarist, Tyler Bates, during the power chord bonanza of ‘River Flows’, while during ‘Loaded Gun’ he declares that “I’m feeling loose and [feeling] mean” with carefree gusto.

Amongst the retro-rock gumbo, there are also moments of reflection. The heart-on-the-sleeve pull of ‘Nevermore’ explores the darker side of life (“Death waits for me/Blackbird, hear my plea”) while ‘I Don’t Mind’ acknowledges, somewhat wistfully, of “drinking up my life, and burning down the town.”

In contrast, ‘Echoes of Time’ is an unexpected cosmic jam that ebbs and flows, before bursting into vintage heavy riffing. It’s a strong, if not explosive parting shot from a band whose best moments are yet to come.

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.

American Slang: American Slang [Self-Released]

Album Reviews

Firstly, let’s take a moment to appreciate the attention to detail: Artwork inspired by a polaroid discovered in your parent’s attic (spoiler alert: it wasn’t) and a moniker that wouldn’t be out of place on the bill at Woodstock.

American Slang is unmoved by current trends. Instead, opting to churn out jams that administer a peaceful easy feelin’. The upbeat jangle of ‘Leon’ soothes that swamp rock fever, while ‘Greens’ would be a fitting tribute to Fleetwood Mac’s recently departed founder.

A vast array of ’60s hitmakers line the grooves of this record, most notably, the Grateful Dead. And like Jerry Garcia’s band of sonic gamblers, the Californian four-piece occasionally drift into faux jazz territory (‘Bloom’) by experimenting with softer dynamics, before increasing the layers of distortion and volume once more (‘Singular Envelope’). In a year that promised so much, but delivered so little, this is an unexpected treat. However, as the album fades to black, you can’t help feeling wistful.

Desert of Bones: Desert of Bones [Self-Released]

Album Reviews

Desert of Bones’ Bandcamp biography states that their debut effort is “a tale of mysticism, witchcraft and sacrifice described throughout nine songs of acid psychedelic riffs.”

That’s apparent from the first spin. Tracks such as ‘Desertania’ and ‘Witchcrafting the Demons’ take joyous twin-guitar expositions across bubbling polyrhythms and organ flourishes, before returning to a classic rock blueprint.

Initially recorded in 2012, the album lay dormant in Invisible Horizons Studios for the best part of eight years. Guitarist and vocalist, Nelson Castello – who now leads the doomy Son of a Witch – is the only member that is currently active. All of which, adds to the album’s allure.

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.

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.

Kaz Garaz: Pizzazz [Self-Released]

Album Reviews

Kaz Garaz refers to Melbourne and Narrm in their bio, the latter being the traditional Boon Wurrung word for the nearby bay. It’s a quirky addition, that while historically correct, is also proof that these lads are free-thinking individuals.

This liberal mindset transcends into their debut full-length, Pizzazz, as happy-go-lucky ditties are replicated over and over, floating by without much impact. However, there are notable exceptions. The new wave-inspired ‘Right on Time’ is a highlight, as is the whimsical jangle of ‘To Your Health’ (“Drink to your health, and take the whole night off”). With each minute that passes, there is an impending feeling of déjà vu, which is hard to shake off.

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.

Fumarole: Valley of Ten Thousand Smokes [Self-Released]

Album Reviews

If ever an album demanded to be heard with the top down while cruising down the Outback Highway then Valley of Ten Thousand Smokes is it – a collection of rip-roaring tunes designed to complement Australia’s intense summers. 

Picking up where 2019’s Mountain left off, the Brisbane trio’s brand of pedal-to-the-metal rock ‘n’ roll borrows from Fu Manchu and Orange Goblin (‘War Cry, ‘Valley’ and ‘Mothership’). Elsewhere, ‘Ghost Smoke’ demonstrates the band’s impressive ability to switch gears, and intensity, without the need to pause for breath. The propulsive ‘Desert Worms’ demonstrates a love for buzzsaw riffing, while the instrumental space-jam of ‘Tierra Supremia’ is an early indication of where their future might lie. Simply put, it is Fumarole’s most consistent and memorable batch of tunes thus far.