EP Reviews

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.

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.

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.

Drie Manner: The World [EP]

EP Reviews

Drie Manner is a band that is hard to pin down. On their debut EP, the Indonesian three-piece manage to create a patchwork of sounds, without settling on one particular genre. ‘Queen of Pentacles’ galloping rhythm is a snarly slab of stoner-metal-come-sludge, while ‘Are You?’ is a drawn-out, repetitive four-minute jam. The tracks are interpolated by a brief, cosmic interlude (‘The Beginning of the World’). Again, adding to their ever-increasing musical palette. Sister track, and closer, ‘The End of the World’ is the amalgamation of their previous efforts, as clean and guttural vocals cascade and echo on top of chugging riffs in equal measure.

Brända Ängar: Brända Ängar [EP]

EP Reviews

Brända Ängar is a direct translation of ‘Burnt Meadows,’ and like their American cousins, the Swedish trio is very much at home in the world of psychedelic rock. Proggy flourishes are prominent in the short, but heady, stomp of ‘Skrattspeglar,’ while the band drift into doom metal territory in ‘Bister idyll’. A melting pot of ideas crammed into 12 minutes bodes well for future releases.

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.

Zeup: Blind [EP]

EP Reviews

Zeup is the latest band to be spawn from their region’s bustling stoner-rock scene. The Copenhagen trio’s crushing riffs draw similarities with their geographical neighbours (Dozer, Greenleaf, Spiritual Beggars et al). None more so than during the energetic fret workouts of ‘Illusions’ and ‘Blind’. Still, comparisons aside, it remains to be seen whether Zeup have what it takes to stand alongside the scene’s Scandinavian heavyweights, but the early signs are positive.

Sobchak: Deaf, Cut and Calm [EP]

EP Reviews

The Swiss five-piece have followed up 2017’s Make it Zero with a warm blast of desert rock. The linear groove that defies ‘No One Hears the Bird’ rumbles on for the best part of three and a half minutes being finally erupting into life; Rolf Gwerder’s vocal delivery reminiscent of Kurt Cobain in places. ‘Vasectomy,’ harkens back to the driving rock of Songs for the Deaf, while ‘More Doors’ revisits the Rancho de La Luna for inspiration once more.

Caveman Voicebox: Strippers, Mullets & Beer [EP]

EP Reviews

Let’s face it: Caveman Voicebox is living the life that most stoner bands can only dream of. They are California natives, who are lucky to count Fu Manchu as neighbours. Their debut release is boozy, blue-collar rock, in its purest form.

Boasting a confidence and swagger usually reserved for more experienced bands, the trio’s loose and sleazy formula, mashes equal doses of fuzz and good ol’ blues, at lightning-quick pace (‘72’Nova’) and switching from full-throttle to comfortable cruising (‘Forsaken Place’) in no time at all. Despite a lack of references to strippers – or indeed, mullets – there is a feel-good factor here, and sometimes, that’s all you need.