ALBUM REVIEW – HEAVY TEMPLE

Heavy Temple – Garden Of Heathens

Reviewed By: Denis Bridger

Review Score: 9.5

If you are familiar with Heavy Temple already, then I reckon you are ahead of the game. They look like they have just left Jerry Garcia’s place, and they play heavy, doom, psychedelic, rock ’n’ roll and they are back with there second full release Garden Of Heathens.

Heavy Temple are from Philadelphia and magicked their way into the land of psydoom on the Winter Solstice of 2012. They quickly built up pace on the local Philly scene and played with the likes of Corrosion Of Conformity, Mothership and such festivals as Doom Fest and Psycho Las Vegas.

Having heavily toured for their first two EPs, Heavy Temple and Chassit, Heavy Temple took time out in 2021 to record their first full album Lupi Amoris (Wolves Of Love) which was accepted with much love, and led to their work schedule becoming even fuller. A great album, so much bass and riff-magic and that magic voice, of course.

Now they are back with Garden Of Heathens and in the bio I have spotted a genre new to me (Desert Rock). My imagination can envisage what that may sound like: dry, dusty, windy, desolate, but that definitely doesn’t describe this album or this band. I have seen lots of videos filmed in desert-like places, so maybe that is it. Maybe it’s an asthetic thing. Here you will journey on a heavily doomed, psychedelic road that starts somewhere on Height Ashbury in ’67 and leads smack dab into the modern age (maybe stopping off somewhere in Scandinavia in the ‘80s).

Vocalist High Priestess Nighthawk’s lyrics on this record stem from the American dream. The relationship to metaphors aren’t what you might think, but are rather pretty personal. Only Nighthawk herself will ever know their true meaning.

Lets talk about the music…

How to start an album? How to pick that first song? Just like that, with a mega-massive bass that gives you a mini heart flutter, and then those almost erotic, soul-grabbing vocals from the High Priestess and drums that are almost hurting my ears (I’m wearing headphones). The mix is perfect. It’s well loud and it’s pretty awesome. Extreme Indifference to Life ‘ just broke my ears and the haunting vocals with that big sound, like Grace Slick just had a musical offspring with Kyuss.

HIRAETH
This track dives straight in with more of that heavy bass and a driving riff. Nighthawk’s vocals really are very captivating and kinda remind me of early Judas Priest in places (the feel, not the music). The track builds and one cannot help but pull a ‘this is great’ painful rock face when you have heard something you know is brilliant. I don’t see Heavy Temple as the classic doom/stoner band. They have so much more going on, harking back to those heady psychedelic days of the very powerful, albeit, very short summer of love, but being very keen on making it a more up to date rock/jamming vibe. ‘Hiraeth’ is a ripper of a track and goes full throttle all the way. Great solo, too.

DEVINE INDESCRETION
More killer riffs, drums, and bass. I can’t make it more simple, these guys have really found their groove and the production is excellent. The album was recorded at Animal Farm Studios and track three is a stand out track. There is something very Jefferson Airplane about this track. Maybe it’s the vocals. Grace Slick also had those haunting tones that made you want to jump down the hole with Alice.

The bass is really pushing everything forward on this track. There is some great, what sounds like just a jamming, off the cuff solo with a bit of a Jimmy Page chord change thing going on. I am listening to this and I am really enjoying all seven minutes that come with a changed tempo and vibe a couple of times. I feel like like I am at some mad 60s all nighter. What a way to end a track… you got me with that one. Just awesome!

HOUSE OF WORSHIP
This song could be one of those metaphors that High Priestess Nighthawk speaks of. We may think this is about religion, but it seems that all may not be so obvious. ‘House Of Worship’ is an even heavier and, maybe, slower track, that’s a bit more in the doom vein. It really reminds me of Candlemass’ Epicus Doomicus Metallicus or maybe Messiah Marcolin’s singing style. I couldn’t be more impressed by the vocals to be honest. Really unique and beautiful. The drums really come to life on this track and they are so clear to the ear. There is a ripping solo and great bass work, and the tone is killer with reverb to the max, I suspect. Lots of darkness in this track and it’s heavy, heavy, heavy.

SNAKE OIL (AND OTHER REMEDIES)
We are over the half way mark. A more mellow intro with very nice drums and riffs that are constant, while that bass has lost all the reverb and is cleaner but deeper than the deepest thing in the world. More of an up tempo bluesy classic rock n roll vibe going on with maybe a hint of Motörhead. Also, do I hear an organ? A great driving rhythm, excellent pounding rock music going on here with understated gritty guitar solos and more of the 60s psychedelic jamming thing. Good rocking’ and rollin’ sounds. Nothing not to like here, folks. Almost nine mins and the jams keep coming. On the live front they must be excellent. It feels like they could revive the all nighter psychedelic raves that the likes of the Grateful Dead and Pink Floyd used to do in ’67… definitely that vibe. It’s a banger.

THE GARDEN OF HEATHENS
Although I rarely use Americanisms, the title track throws us a curveball (we play cricket in the UK, so no curveball, but anyway). I have being trying to think of an album title track that was an instrumental and I can’t, at least one that isn’t an instrumental album, anyway. I suppose there are some. Ideas on postcard please. So, yes, an instrumental, with a tinge of Alice In Chains‘ Jar Of Flies. Very relaxing after all that heavy psydoom.

JESUS WEPT
Still bit of a grunge thing in my ears with screaming guitar, and back too the really dirty bass tone. I kept expecting Layne Stayley to start singing, which I think is something about the key of the song (Drop D tuning?). Not really that it sounds like an Alice In Chains song, but wouldn’t that be a compliment? When Nighthawk starts singing it’s got a really nasty but good, dirty, angry feel and is so full of belief and passion. By the end of the song, we’re at a much faster pace. I can just hear everything pounding and driving with such a force that my head is going to fall off, if it rocks anymore… and a slow down to finish. Phew! Fantastic.

PSYCHOMANTEUM
Jimi Hendrix has entered the building, folks! Not quite, but it’s a little Jimi-esqe maybe? Then, out of the blue, I’m on a thrashing metal train travelling at a pretty quick pace with an instrumental that could be off Exodus’ Bonded By Blood. The second half gets back on track with more of the doom. A good solid tune to finish on.

CONCLUSION
Just feckin’ awesome, all killer, no filler. Great production, massive sound. That’s all I’m going to say. See them live, if you can. They are bound to ‘shake your foundations’!

Garden Of Heathens is out today (April 12th) via Magnetic Eye Records.

ALBUM REVIEW – MELVINS

Melvins – Tarantula Heart

Reviewed by: Georgina Strikakos

Review Score: 8

Melvins experiment with their songwriting on Tarantula Heart as they are one of the most legendary alternative rock bands out there. They have been active for quite a long time, and they also have inspired musicians who went on to define generations, including Kurt Cobain of Nirvana. Despite achieving widespread acclaim and success, Melvins never bowed down to any trend or market, and they continued to do exactly what they wanted to do over the years, and that is – creating uncompromising music that keeps pushing the limits. They will never blend in with the mainstream and that is why we love them.

The cult band has recently announced a new album named Tarantula Heart. The album was recorded, mixed, and produced by long time Melvins collaborator Toshi Kasai at The Sound of Sirens Studio in Los Angeles. The cool album cover art was created by Mackie Osborn.

This record features many special guests, which seems to be a new way for the Melvins to keep exploring ideas and expand their sound. Most notably, this new record features two drum kits, creating an even more exciting barrage of aggressive sounds and grooves.

Analyzing this album in the usual manner is somewhat challenging though due to its unique creation process, but I am going to do it! The opening track ‘Pain Equals Funny’ dominates a significant portion of the record, showcasing a structured and doom/psych-influenced sound. It’s a twisted masterpiece. It could even be considered a standalone piece of work. Following this, ‘Working the Ditch’ takes the next spot, lacking in melody but compensating with its solid structure that adheres to the typical conventions of a rock song.

The remainder of the album spirals into a bit of disarray with the track ‘She’s Got Strange Arms’, a standout song title for sure. This is where the album could potentially lose a listener, especially if it’s a new one as it leans more towards a heavy chorus and a barrage of beats rather than a traditional song structure. The same goes for the song ‘Smiler’.

One of the previously released singles from the album is titled ‘Allergic to Food’ and it feels like a great introduction to what people can expect from the aesthetics of this record overall. The free form guitar jam in the intro is reminiscent of something that Black Flag would’ve concocted during Greg Ginn’s most experimental period – the song hits hard with a unique form of controlled chaos, the kind that only Melvins are seemingly able to conjure up to such a high degree of freedom and aggression in their music.

Many of the songs on this record have more of a metal twist, also thanks to the contributions of drummer Roy Mayorga, known for his work with bands, like Ministry, Stone Sour and Soulfly among others. According to King Buzzo, the frontman of the group, another notable difference between Tarantula Heart and many other Melvin records is the creative approach. He previously explained that the band would normally hear the songs, learn the material, and then approach the recording studio. However, Tarantula Heart was different in the way the Melvins developed their jams into fully finished tracks, writing new music to fit the jams as they were being created.

CONCLUSION
Tarantula Heart stands out as a testament to the band’s continual commitment when it comes to blending metal, punk, and experimental rock. The result is a mighty fusion of distorted guitars, pounding drums, and raw energy, which feels right at home with the rest of the Melvins discography.

Tarantula Heart will be available April 19, via Ipecac Recordings.

ALBUM REVIEW – DVNE

Dvne – Voidkind

Reviewed by: Denis Bridger

Review Score: 8.5

When I’m looking for music for myself and for music to review, I’m always looking for something a little different, innovative, reminiscent of past musical loves, something completely off the wall or something that simply makes me go “hmmm” and makes me want to listen more. That is the case with Dvne. From the opening bars, I wan’t sure if this was my thing, but the riff was pretty captivating, so I continued to listen and wasn’t disappointed.

Dvne began life in Edinburg ( Scotland ) in 2013 and is the brainchild of Frenchman Victor Vicart and Scotsman Dudley Tait. Their music is descibed in the bio as post-metal/prog- sludge, but I shall leave that down to the listener to decide.

Voidkind is the second record on the mighty Metal Blade label and follows the much acclaimed first album Etemen Ænka, which I have to say is also a good record. If I review a new band, I generally listen to the back catalogue to get an overview of changes of sound and progress from a band. As such, I’d say that Voidkind follows in the vein of Etemen Ænka, but, there have been some obvious changes. Victor says “We still have the big nine-minute songs, but now we also have these more concise songs that still feel like us. We want people to immediately recognize the riff.” The sound on both albums is recognizable as the same band and there are a few memorable riffs, so I’d say that goal has been achieved. There has also been the addition of full-time keyboardist Maxime Keller, so a big change there.

‘Summa Blasphemia‘ is the opener and, to be honest, I don’t really go in for shouty, scream-y vocals. I do like a clear melodic singer but the opening riff hooked me and drove me forward, regardless of the vocals. When the singing changed to a more melodic style, it became more progressive and easier for my ears, but then the shouty vocals came in again. To be honest, the contrast works… maybe a few screams here and there are okay. I guess there was no going back now, as Dvne had me locked in for the duration.

‘Eleonora‘ again opens with a memorable riff and the feel is more of a traditional prog tune. At 8:34 minute mark, ‘Eleonora‘ stays true to the complex compositions that Dvne are already known for. You have the heavy parts that scream at you with blasting drums and bubbling bass, and then the contrast of the melodies, and then both at the same time. A solid tune, indeed.

There seems to be a theme going on here. At about half way though the song ‘Reaching For Telos‘ there is a breakdown and progressiveness that comes in once the heavier first-half has passed. I think the more melodic proggy parts are what kept me interested on the first listen, the more melodic proggy parts. The screams/shouty vocals are not so necessary for me as Victor Vicart’s vocals are pretty good, but if you like the really aggressive vocals, then it’s all good. Luckily for me, the riffs and general feel to the music is powerful and exciting, which has averted my ears during the screaming.

‘Reliquary‘ Is a very heavy track with parts that remind me of early Sepultura, but then you have some psychedelic rock about halfway through the track. At three quarters through, you have some melodies with heavy riffs. A lot to think about here. Dvne seem to have found the formula that works for them and they do what they do with confidence, brutality, and sensitivity.

Both track five, ‘Path of Dust‘ and track 7, ‘Path Of Ether‘, are ninety second ambient interludes, which makes me ask again: is there a concept album in here somewhere?

‘Sarmatæ‘ is the shortest of the main tracks at just four and a half minutes and is more prog based, allowing for Daniel Barter’s vocals to shine here. Maybe this track will be one of my faves as I listen more times. It kind of sits nicely between ‘Path Of dust’ and ‘Path Of Ether.‘

‘Abode Of The Perfect Soul‘ has a lot going on and has a little bit of a Puscifer/Tool feel in places (Puscifer is a band I’ve been getting into lately, so maybe that’s why it’s reminded me of Mr. Maynard James Keenan’s work). The last three tracks on this record are all epic, between seven and ten minutes. Victor’s wish to have recognizable riffs has definitely been achieved and the bass on this track is immense… or is it a synth? Hard to tell these days.

The penultimate track ‘Plērōma‘ (which has been released as a single) is probably a good choice for a single. It builds from synths with more reliably good guitar and gradually grows and grows into a really nice riff and vocals that are maybe the clearest on the record (if, like me, you like to understand lyrics). This is possibly the most accessible track for a new listener who may not like such heavy vocals, although there are still some growls between the melodies. Definitely a worthy entrance into the world of Dvne, if you are a newcomer.

And then, finally, ‘Cobalt Sun Necropolis‘, an epic ten minute track, leads with some great reverb guitar and has the feel of an album ending. This time the melodies are aplenty. The prog heart is open allowing for a scream here and there. This track builds and builds, maybe to a crescendo, an explosion, a full force, or maybe just a steady jaunt,. You’ll have to listen to find out. ‘Cobalt Sun Necropolis‘ feels like an encore song at a gig; it’s long and you want to see what’s coming next. The track finishes off the album nicely.

CONCLUSION
Definitely a good record that will please prog folks and the heavier metal folks. I would say it is a step up from the last record but stays in the same vein. Dvne are consistent to say the least. From a personal point of view, I would like to be able to hear the lyrics a bit clearer. I would need the lyrics to know what is being sung, and I don’t know if it’s my ears or speakers, but I find hearing the keys or synths not so easy, but on the flip side, probably, if there weren’t keys, I would notice the difference. A good all round record that will please the fans and I have a feeling this album is going to be a real grower, so watch out.

Voidkind will available April 19th via Metal Blade Records. ORDER HERE. Check out Dvne on tour in The UK and Europe this summer.

ALBUM REVIEW – MY DYING BRIDE

My Dying Bride – A Mortal Binding

Reviewed By: Kenneth Gallant

Review Score: 9

It’s been four years since Ghost Of Orion was released by My Dying Bride. When the album was offered
up in 2020, the world was reeling with the start of COVID and all the subsequent lock downs that followed. As for the album, it hit at the right time; becoming a grim, oppressive, and powerful soundtrack to reflect the time we all found ourselves in.

The band has always been prone to sweeping you up into a deeply emotional voyage of sonic dirges;
embroiling your senses along the way into a whirlwind of doomed sounds. They truly are one of the more unique bands in the doom/death/gothic metal genre and it shows here on A Mortal Binding. This
represents the band’s fifteenth studio recording and it’s a stunning testament to an enduring legacy that began at the start of the 1990’s.

As I attempted to gather my initial thoughts, I noticed how tight and refined the production was on this release. Much like the last record, the songs here are crisp, engaging and moving. The first track ‘Her Domain’ is completely guitar-driven and is proceeded by thick and doomy tones. Aaron Stainthorpe’s vocals are raspy and tortured sounding, but quite pronounced throughout this piece. He doesn’t let up for any reason and it’s a big statement to make on an opening track of this magnitude. At least on the next track ‘Thornwyck Hymn’ the vocals are dominated by clean singing and followed by soaring melodies that drip nothing but melancholia.

‘The Second of Three Bells’ starts up slowly and continues to pull back, until the guitars grind hard and the growls are heard. The song falls back again into what I feel is a beautifully realized track. ‘Unthroned Creed’ features some beefy guitars and probably some of Andrew Craighan’s best lead work. The lyrics fall inline perfectly and I love the line “I won’t help you anymore” repeated several times throughout the song.

Following that is the eleven minute opus called ‘The Apocalyptist’ which twists and turns with violins, heavy guitars and Aaron’s guttural vocals. I love how it rips along and then slows down to slither at a menacing pace. My ears can pick out a Ride The Lighning vibe in the guitars in one part and then suddenly hear the brilliance of a Tony Iommi riff in another part. This is my favourite track by
the way.

The second to last track; ‘A Starving Heart’ again blisters along with a sweeping melody; allowing Aaron to provide clean and snarly vocals on top of it. This is a solid piece overall setting up the final track ‘Crushed Embers’ to be ushered in at a slow and deliberate pace. There’s heaping amounts of doomy goodness here, and I love the line “I waited such a long time and questioned my sanity.” The growls at this juncture work so well; punctuating the ending of the song soon after.

A Mortal Binding clocks in close to fifty-five minutes and becomes an epic long player in the process. I
simply love the guitar harmonies and crystal clear production brings all that on point. Aaron Stainthorpe continues writing poetically and morbidly; getting better on every album with his lyrics. He can also switch effortlessly from clean to gnarly vocals becoming old hat to him at this point. There’s not a bad song to be found here and you can easily slot this release along side The Ghost of Orion. My favourite track is ‘The Apocalyptist’, but other tracks like ‘Her Dominion’, ‘Thornwyck Hymn’ and ‘Unthroned Creed’ are all equally good.

A Mortal Binding will be released on April 19th via Nuclear Blast Records.

ALBUM REVIEW – TYR

Týr – Battle Ballads

Reviewed by: Blake Mossey

Review Score: 9

Folk/Viking metal band Týr are set to release their 9th studio album Battle Ballads on Metal Blade Records. On February 8, 2020, the band’s collaboration with the Symphony Orchestra of the Faroe Islands to record the double-disc/DVD “A Night at the Nordic House” was a dream come true for founder and frontman Heri Joensen. He was excited to fuse his two favorite music genres, folk and classical, into the band’s unique musical style. The collaboration had a profound impact on Joensen, inspiring him and significantly influencing the direction of this album.

This album has full orchestration with it and is a little less progressive then previous works which might displease some long time fans but this is the new vision of the band. So we have classical music mixed in with Týr‘s Viking, folk and power metal elements. The lead-off track ‘Hammered’ dispels any notion of ballads, assaulting the listener with a fusion of power metal and the majestic undertones of classical music.

‘Unwandered Ways’ is a vibrant, uplifting mix of vocal harmonies, traditional folk hooks, and driving guitars, featuring a solo that showcases Hans Hammer’s virtuosic shredding skills. ‘Dragons Never Die’ presents an ideal mixture of power metal with classical instrumentation full on display. ‘Row’ is very viking metal with the pounding drums to lead off the track and such a massive full sound as the song progresses and Joensen distinctive vocals on point. ‘Torkils Døtur’ slows things down, featuring the most folk metal elements, complete with folk guitars and baritone vocals, making it the closest piece to a ballad on the album.

‘Vælkomnir Føroyingar’ begins at a midtempo pace before erupting into a fast-paced power/viking metal masterpiece. It’s certainly one of my favorites on this album. The tempo persists with ‘Hangman,’ featuring choral chants, sing-along vocals, heavy riffing, and neoclassical feel. Another awesome track. These two tracks in particular showcase the album’s exceptional production and the remarkable sound quality attained throughout.

The band has ventured in a slightly different direction with this album, yet they have crafted a colossal-sounding epic that blends Viking and power metal with classical music, enhancing its grandeur.

Album available April 12th on Metal Blade Records. ORDER HERE

Band
Heri Joensen: Vocals / Guitar
Hans Hammer: Lead Guitar
Gunnar Thomsen: Bass / Vocals
Tadeusz Rieckmann: Drums

Discography
How Far to Asgaard (2002)
Eric the Red (2003)
Ragnarok (2006)
Land (2008)
By the Light of the Northern Star (2009)
The Lay of Thrym (2011)
Valkyrja (2013)
Hel (2019)
Battle Ballads (2024)