NEW MUSIC: Beastwars– Omens

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photo by David James

New Zealand metal band Beastwars return with their first single since singer Matt Hyde successfully underwent 6 months of treatment for Non-Hodgkin Lymphoma in 2016. ‘Omens’ comes from their new LP IV, due out on Friday June 28th.

 Hyde said that through his diagnosis and subsequent treatment, he was given an opportunity to look into the abyss beyond life as we know it. “Throughout the treatment – I was numb – and it’s interesting to have the ability to confront that, to confront the void, to confront the idea of mortality. I didn’t make peace with it either.

To celebrate the album release Beastwars are touring New Zealand and Australia in June/July – presented by Panhead Custom Ales. They are hitting Wellington, Auckland, Christchurch and Dunedin in New Zealand and then jumping over the Tasman to play Brisbane, Sydney and Melbourne shows.

IV can be pre-ordered now at all good digital stores and streaming platforms and Limited Edition Vinyl, Cassette and T-Shirt Bundles are available at http://www.beastwars.bigcartel.com. Single ‘Omens’ is available for streaming and purchase now.

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NEW MUSIC Möss Fölk – Misery Mothers

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Blistering thrash metal with a super-solid bottom end of distorted bass on this track from Worcester, Massachusetts band Möss Fölk. The riffs are relentless while the vocal totally hits the spot for us – raw, punk-metal and visceral without getting too cookie monster. The killer blow comes at 1:09 where everything drops away to reveal the grungy bass before everything collapses back in on top of it with glorious chugging heaviosity.

The track comes from their four track demo which is available to download for free on their Bandcamp page.

 

NEW MUSIC: Baroness – Borderlines

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Baroness have announced their new album Gold & Grey will be released on on June 14 via Abraxan Hymns/Cooking Vinyl Australia.

“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound,” offered Baroness founder, guitar player and vocalist John Baizley. “I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate. I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few ‘firsts’ for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises.”

Baroness is John Baizley (vocals/guitar), Gina Gleason (guitar), Nick Jost (bass) and Sebastian Thomson (drums).

1. Front Toward Enemy
2. I’m Already Gone
3. Seasons
4. Sevens
5. Tourniquet
6. Anchor’s Lament
7. Throw Me An Anchor
8. I’d Do Anything
9. Blankets of Ash
10. Emmett-Radiating Light
11. Cold Blooded Angels
12. Crooked Mile
13. Broken Halo
14. Can Oscura
15. Borderlines
16. Assault on East Falls
17. Pale Sun

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ALBUM REVIEW: The Beasts – Still Here

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The Beasts
Still Here
Bang! Records / Rocket

A new album from the remaining members of the Beasts of Bourbon (under the name The Beasts) is a bittersweet thing in light of the passing of bassist Brian Hooper and more recently Spencer P. Jones. The name of the band and the album are self explanatory and though there’s enough to justify the band coming together to record new music and tour, there’s the unavoidable sense of a band operating on dwindling returns.

The album was recorded only a couple of weeks after their last gig with Hooper and is made up of songs formed from, in their words, sketchy ideas plus some jams and covers. Jones is there, but he only made it onto one track, the slow and swampy blues crawl of At The Hospital.

Things get off to a good start with the one/two punch of Perkins’ On My Back and Kim Salmon’s heavy grunge/garage-rock track Pearls Before Swine. Both possess the right amount of grit and sleaze, worthy additions to the Beasts’ canon of work. Warren Zevon’s My Shit’s Fucked Up gets a passable workout, as does Zappa’s The Torture Never Stops, which fares better with its loose and queasy sound.

It’s All Lies and Your Honour sound like half-baked ideas – one-riff jams that were fleshed out long enough to justify calling them songs. The flip-side to them is the shadowy drone and grind of Don’t Pull Me Over, a sign of the band’s willingness to still effectively explore the avant garde end of primal rock n roll, an inner city cousin to Springsteen’s Nebraska. 

What The Hell Was I Thinking sounds like a late-night Rolling Stones jam and gloriously so. Searing electric slide and acoustic guitars weave a drunken dance while Perkins laments his actions in his wonderful country howl and croon.

All in all Still Here is a flawed beast but I guess they always were weren’t they. That was, and remains, the band’s charm. A collective throwing together of ideas that works often and fails sometimes.

Chris Familton

NEW MUSIC: Hideous Sun Demon – Ssppuunnkk

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West Australian psych-punks Hideous Sun Demon have unleashed this new track on us, the psychotic swagger of ‘Ssppuunnkk’ which staggers across the speakers, drops to its knees and crawls deeper into a drug fever. Slashing guitar shreds sonic holes through the song,  above the pummelling rhythm section and Vincent Buchanan-Simpson ’s ferocious lead vocal.

Their album Fame Erotic Dream is out now.

NEW MUSIC: Magnus – Saints, Sedated

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Sydney trio Magnus know how to hit the metal, indulge the boogie, stoner rock vibe and stay perfectly on the wrong side of weird on this digital single ‘Saints, Sedated’. It hits a super solid pounding sprint home at the back end after digging into jazz metal noir and desert rock grooves.

The track features Lucius Borich (Cog) on drums, percussion, backing vocals and organ.

Magnus’ sophomore album is coming soon and has been engineered and mixed by Aria award winning Paul McKercher and mastered by Grammy award winning Brian Gardner (Queens of the Stone Age – Songs for the Deaf).

LIVE REVIEW: Shihad @ Metro Theatre, Sydney

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Shihad, Young Lions, The Dead Love
Metro Theatre, Sydney
November 24th, 2018

Thirty years, damn… where did that time go. This writer recalls first seeing them open for The Angels in Auckland, New Zealand in 1990. Back then they were fresh-faced young lads, still in thrall to the thrash metal of Metallica and co and yet to embark on the ups and downs of their rock ’n’ roll career. Now of course they’re middle-aged statesman of Antipodean hard rock, a conduit between metal and melodic rock and most importantly, still performing as passionately and intensely as ever.

The Dead Love were up first, keeping things simple, rough and raw with their grunge punk that treads a nice line between unhinged rock and crossover melodic punk pop. At times their songs veered too close to catchy choruses of the anthemic hook kind but they know to ensure they keep enough throat shredding angst and anger in the mix to stop the songs sounding too cleaned up.

Young Lions on the other hand represent the worst of modern rock, when technology creeps in and bleaches out the rough edges and believable conviction in the music. In their frontman they have a singer who can certainly nail emo, hard rock and some cringeworthy rap moments but his self-belief was overcooked with over-the-top rock star moves and ventures into the audience. The music was generic alt-rock by numbers, Bono fronting Linkin Park, an Australian Idol facsimile of rock music.

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Shihad quite simply laid waste to what came before them. On a stage devoid of amplifiers and a sound that was blisteringly loud, heavy and perfectly balanced, they set about celebrating 30 years as a band with a set that began with Think You’re So Free from their most recent album FVEY and worked its way back, in chronological order to Factory from their debut Churn. 

It was a fascinating arc to experience as the four black-clad Kiwis accurately acknowledged their high-points and lesser successes. The General Electric (celebrating 20 years) supplied five songs, FVEY three, Shihad, Killjoy and Pacifier two apiece. The most commercial period spanned The General Electric and Pacifier albums and the near sold-out crowd were in full voice singing along to songs such as Comfort Me, Run and My Mind’s Sedate. As always Jon Toogood was the hype man and the tireless frontman, constantly inciting audience involvement with handclaps, sing-alongs, lit-up phones held aloft and unified jumping up and down. They’re all cliched rock moves but he does it well and all with his laconic, genial stage manner. 

As a band there are few that play tighter hard rock and honour the riff as diligently as Shihad, they’re a precision machine with a beating heart. In Toogood’s case, one that pumped blood in a stream down his arm as a result of frenetic guitar playing. Karl Kippenberger still works the stage, grinning at the audience like he’s bumping into old friends, Phil Knight is a study of six string wizardry while Tom Larkin is the glue and anchor that ties it all together. As they approached the tail end of the set things got darker with the magnificent thrum and throb of Deb’s Night Out, an absolutely brutal psych assault of You Again and the industrial tectonic riff of Factory from their debut album.

Shihad are essentially still doing what they’ve always done, entertaining their devoted fans with sensory overload at maximum volume. It’s fun, it’s life-affirming rock music and they’re still right at the top of their game, a claim that can be bestowed on very few bands after three decades of making music.

Chris Familton